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"disqusTitle": "L.A. Teen Brings Home Souvenir of a Lifetime From the Summer of Love",
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"content": "\u003cp>Today, rock festivals are just part of the summer landscape. But in 1967, they were totally new.\u003c/p>\n\u003cp>Forty-nine years ago this weekend, the Monterey International Pop Festival introduced audiences to rock 'n' roll, camping, all-day shows and a little-known guitarist named Jimi Hendrix.\u003c/p>\n\u003cfigure id=\"attachment_10992681\" class=\"wp-caption alignright\" style=\"max-width: 1457px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Jimi-fire-crop.jpg\" alt=\"Ed Caraeff's photo of Jimi Hendrix burning his guitar at the Monterey International Pop Festival on June 18, 1967. Taken with a camera borrowed from his family optometrist when Caraeff was a high school junior, the photo made the cover of Rolling Stone, twice, in the decades since the festival.\" width=\"1457\" height=\"1952\" class=\"size-full wp-image-10992681\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop.jpg 1457w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-400x536.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-800x1072.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-1180x1581.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-960x1286.jpg 960w\" sizes=\"(max-width: 1457px) 100vw, 1457px\">\u003cfigcaption class=\"wp-caption-text\">Ed Caraeff's photo of Jimi Hendrix burning his guitar at the Monterey International Pop Festival on June 18, 1967. Taken with a camera borrowed from his family optometrist when Caraeff was a high school junior, the photo made the cover of Rolling Stone, twice, in the decades since the festival. \u003ccite>(Photo courtesy of Ed Caraeff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When a bunch of friends decided to take a road trip to the Monterey Pop Festival, Eddie Caraeff wasn’t thinking music. He was thinking pictures.\u003c/p>\n\u003cp>“I wasn’t a music lover that was there to enjoy the music and take a few snapshots,\" Caraeff said. \"I was there to photograph it -- and I did.\"\u003c/p>\n\u003cp>Caraeff was a junior at Westchester High School in Los Angeles. He loved music, but he was crazy about photography. These were the '60s, when the California rock scene was going wild and the radio was going psychedelic. One school night while listening in bed to a local KBLA-AM radio show, \"Dave Diamond and the Diamond Mine,\" Caraeff heard that a band he liked, the Seeds, was coming into LAX the next day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“LAX was five minutes from Westchester High School,” he recalled. So he drove over on his school lunch hour, hoping to get some pictures.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/269687949\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>That lunch break turned out to be his big break -- when an executive from the band's record company noticed him taking photos and asked to see them. The next day, he cut out from school and brought her a cardboard box of prints he'd made up in the school darkroom. She liked them and invited him to shoot the Seeds at the Hullabaloo Club in Hollywood that weekend. There, 16-year-old Caraeff came face to face with rock 'n' roll.\u003c/p>\n\u003cp>“It was a crazy scene,” Caraeff said. “There were girls on the stage, there were no guards ... the emergency exit door was chained shut. I should have photographed that!”\u003c/p>\n\u003cfigure id=\"attachment_10992682\" class=\"wp-caption alignleft\" style=\"max-width: 692px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/zappa.jpg\" alt=\"Caraeff's portrait of the Los Angeles rock iconoclast Frank Zappa.\" width=\"692\" height=\"1024\" class=\"size-full wp-image-10992682\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/zappa.jpg 692w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/zappa-400x592.jpg 400w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">Caraeff's portrait of the Los Angeles rock iconoclast Frank Zappa. \u003ccite>(Photo courtesy of Ed Caraeff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The band's manager, an English DJ who went by the nickname Lord Tim, saw him taking pictures.\u003c/p>\n\u003cp>“He grabbed me by my jacket and he said, those better f*ing come out!” Caraeff recalled, laughing. “And you know, they did. And I bought my first Nikon camera with that money.”\u003c/p>\n\u003cp>So he did it again. And again. And at the end of his junior year, when he heard about the Monterey Pop Festival, it sounded like another good place to get some shots and make some cash. He had no idea -- no one did -- what Monterey would turn out to be.\u003c/p>\n\u003cp>Held June 16-18, 1967, Monterey was one of the first rock festivals in the United States -- just a week after the very first, --the Magic Mountain Music Festival held on Mt. Tamalpais in Marin County. Organized by the Los Angeles band the Mamas and the Papas, the Monterey International Pop Festival was modeled on Monterey's popular Jazz Festivals. But that weekend, it broke the mold.\u003c/p>\n\u003cp>“The Monterey Pop Festival was a watershed event in the entire history of rock music,” said Joel Selvin, a former San Francisco Chronicle rock critic who wrote a book about the festival, \"Monterey Pop.\"\u003c/p>\n\u003cp>“This was the end of top 40 acts and the beginning of underground rock in one weekend,” he said.\u003c/p>\n\u003cfigure id=\"attachment_10992687\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/diamond-400x394.jpg\" alt=\"The cover of Neil Diamond's 1972 "Hot August Night" live double album is one of more than 200 album covers from the '60s, '70s and '80s credited to Caraeff.\" width=\"400\" height=\"394\" class=\"size-thumbnail wp-image-10992687\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-400x394.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond.jpg 704w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Neil Diamond's 1972 \"Hot August Night\" live double album is one of more than 200 album covers from the '60s, '70s and '80s credited to Caraeff.\u003c/figcaption>\u003c/figure>\n\u003cp>The three-day, five-show bill featured acts including San Francisco's Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company featuring Janis Joplin, and Los Angeles' The Byrds and Buffalo Springfield, as well as The Who.\u003c/p>\n\u003cp>The Monterey County Fairgrounds sold only 8,500 tickets, Selvin said, but another 20,000 kids showed up “to sort of hang out in the park nearby.” And so the modern rock festival was born.\u003c/p>\n\u003cp>Caraeff was there, with a photo press pass he scored through the KBLA underground rock newspaper and a Voigtlander camera he borrowed from his family optometrist. He staked out a chair in the photo pit at the edge of the stage, and watched rock history unfold before his eyes.\u003c/p>\n\u003cp>“Janis Joplin, I mean right there from my chair-eye view,\" he recalled. \"Otis Redding, that just blew me away. Simon and Garfunkel, that was so great to see that right up close like that, the two of them.\"\u003c/p>\n\u003cp>There were a few bands there almost no one had heard of. But a German photographer gave him a tip.\u003c/p>\n\u003cp>“I remember this vividly,” Caraeff said. “He said, 'save some film for this Jimi Hendrix cat.'”\u003c/p>\n\u003cp>Monterey was The Jimi Hendrix Experience's U.S. debut, and Hendrix was trying to make an impression. On stage, he was all over the place in a feather boa, ruffled orange shirt and tight red pants, doing backward somersaults and humping the amps. At the end of his set, he capped a cover of \"Wild Thing\" by lighting his guitar on fire -- right in front of Caraeff.\u003c/p>\n\u003cp>Hendrix was kneeling over the guitar, coaxing flames from the strings like a snake charmer.\u003c/p>\n\u003cfigure id=\"attachment_10992693\" class=\"wp-caption alignleft\" style=\"max-width: 937px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/The-Seeds-1.jpg\" alt=\"Psychedelic garage rockers The Seeds onstage at the Hullabaloo Club in Hollywood in 1966. The photo was 16-year-old Caraeff's first rock photography sale.\" width=\"937\" height=\"768\" class=\"size-full wp-image-10992693\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/The-Seeds-1.jpg 937w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/The-Seeds-1-400x328.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/The-Seeds-1-800x656.jpg 800w\" sizes=\"(max-width: 937px) 100vw, 937px\">\u003cfigcaption class=\"wp-caption-text\">Psychedelic garage rockers The Seeds onstage at the Hullabaloo Club in Hollywood in 1966. The photo was 16-year-old Caraeff's first rock photography sale. \u003ccite>(Photo courtesy of Ed Caraeff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The thing's burning right in front of my face,” Caraeff recalled. He held the camera in front of him to shield his face from the heat and pulled the lever to advance the film. It stuck -- he was at the end of the roll. He had one more shot.\u003c/p>\n\u003cp>He took it, and with it, took his own piece of rock 'n' roll history.\u003c/p>\n\u003cp>Caraeff's final shot that night has lasted a lifetime. Rolling Stone chose it for the cover of its Monterey Pop 20\u003csup>th\u003c/sup> anniversary issue in 1987, and it made the cover again for a special edition in 2012. It traveled around the world with the photo exhibit \"Who Shot Rock 'n' Roll\" from 2009-2013. Caraeff said it is his most famous photo -- and that's saying something.\u003c/p>\n\u003cp>Nearly 50 years after that night in Monterey, Caraeff is flipping through his archive, showing me photos from a long career that started on his high school lunch break and took him around the world as a professional rock photographer and record album art director.\u003c/p>\n\u003cp>He photographed and designed more than 200 record album covers in the '60s, '70s and '80s. His archive holds 300,000 photos of artists including Bob Dylan, Carly Simon, Tom Waits, Frank Zappa, Jim Morrison, Elton John and '70s rockers Three Dog Night, with whom he toured as official photographer. He has so many photos of Hendrix he's planning a whole book of them, due out next year. The story of Monterey was one of his first, but far from his last.\u003c/p>\n\u003cp>Now, he's started on a new adventure. After a long career as a photographer and an even longer one in the restaurant business, last year Caraeff got what he calls a “health wake-up call” and decided to make a change. He sold his house in Santa Monica and all his stuff, and he hit the road for what he calls his “bucket list trip,” living and traveling full time in his Volkswagen camper, \"Moonbeam.\"\u003c/p>\n\u003cp>It's tight quarters, but with all the comforts of home. Moonbeam is tricked out with a rug from Nepal, solar lights and a kitchen rack with 21 different spice jars. Caraeff even has a satellite phone. There are no rock 'n' roll photos on the walls. “Photos of my grandkids,” he offered with a smile.\u003c/p>\n\u003cp>But the musicians he photographed are always with him, in the music he plays on the road. “It's like the soundtrack to my life.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And when he turns on the radio, it’s 1967 all over again: The Hombres' \"Let it All Hang Out\" comes over the speakers, and Caraeff starts singing along. He's heading up the coast on another summer road trip. He said he plans to drive right past Monterey -- and keep on going.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, rock festivals are just part of the summer landscape. But in 1967, they were totally new.\u003c/p>\n\u003cp>Forty-nine years ago this weekend, the Monterey International Pop Festival introduced audiences to rock 'n' roll, camping, all-day shows and a little-known guitarist named Jimi Hendrix.\u003c/p>\n\u003cfigure id=\"attachment_10992681\" class=\"wp-caption alignright\" style=\"max-width: 1457px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Jimi-fire-crop.jpg\" alt=\"Ed Caraeff's photo of Jimi Hendrix burning his guitar at the Monterey International Pop Festival on June 18, 1967. Taken with a camera borrowed from his family optometrist when Caraeff was a high school junior, the photo made the cover of Rolling Stone, twice, in the decades since the festival.\" width=\"1457\" height=\"1952\" class=\"size-full wp-image-10992681\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop.jpg 1457w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-400x536.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-800x1072.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-1180x1581.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-960x1286.jpg 960w\" sizes=\"(max-width: 1457px) 100vw, 1457px\">\u003cfigcaption class=\"wp-caption-text\">Ed Caraeff's photo of Jimi Hendrix burning his guitar at the Monterey International Pop Festival on June 18, 1967. Taken with a camera borrowed from his family optometrist when Caraeff was a high school junior, the photo made the cover of Rolling Stone, twice, in the decades since the festival. \u003ccite>(Photo courtesy of Ed Caraeff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When a bunch of friends decided to take a road trip to the Monterey Pop Festival, Eddie Caraeff wasn’t thinking music. He was thinking pictures.\u003c/p>\n\u003cp>“I wasn’t a music lover that was there to enjoy the music and take a few snapshots,\" Caraeff said. \"I was there to photograph it -- and I did.\"\u003c/p>\n\u003cp>Caraeff was a junior at Westchester High School in Los Angeles. He loved music, but he was crazy about photography. These were the '60s, when the California rock scene was going wild and the radio was going psychedelic. One school night while listening in bed to a local KBLA-AM radio show, \"Dave Diamond and the Diamond Mine,\" Caraeff heard that a band he liked, the Seeds, was coming into LAX the next day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“LAX was five minutes from Westchester High School,” he recalled. So he drove over on his school lunch hour, hoping to get some pictures.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/269687949&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/269687949'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That lunch break turned out to be his big break -- when an executive from the band's record company noticed him taking photos and asked to see them. The next day, he cut out from school and brought her a cardboard box of prints he'd made up in the school darkroom. She liked them and invited him to shoot the Seeds at the Hullabaloo Club in Hollywood that weekend. There, 16-year-old Caraeff came face to face with rock 'n' roll.\u003c/p>\n\u003cp>“It was a crazy scene,” Caraeff said. “There were girls on the stage, there were no guards ... the emergency exit door was chained shut. I should have photographed that!”\u003c/p>\n\u003cfigure id=\"attachment_10992682\" class=\"wp-caption alignleft\" style=\"max-width: 692px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/zappa.jpg\" alt=\"Caraeff's portrait of the Los Angeles rock iconoclast Frank Zappa.\" width=\"692\" height=\"1024\" class=\"size-full wp-image-10992682\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/zappa.jpg 692w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/zappa-400x592.jpg 400w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">Caraeff's portrait of the Los Angeles rock iconoclast Frank Zappa. \u003ccite>(Photo courtesy of Ed Caraeff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The band's manager, an English DJ who went by the nickname Lord Tim, saw him taking pictures.\u003c/p>\n\u003cp>“He grabbed me by my jacket and he said, those better f*ing come out!” Caraeff recalled, laughing. “And you know, they did. And I bought my first Nikon camera with that money.”\u003c/p>\n\u003cp>So he did it again. And again. And at the end of his junior year, when he heard about the Monterey Pop Festival, it sounded like another good place to get some shots and make some cash. He had no idea -- no one did -- what Monterey would turn out to be.\u003c/p>\n\u003cp>Held June 16-18, 1967, Monterey was one of the first rock festivals in the United States -- just a week after the very first, --the Magic Mountain Music Festival held on Mt. Tamalpais in Marin County. Organized by the Los Angeles band the Mamas and the Papas, the Monterey International Pop Festival was modeled on Monterey's popular Jazz Festivals. But that weekend, it broke the mold.\u003c/p>\n\u003cp>“The Monterey Pop Festival was a watershed event in the entire history of rock music,” said Joel Selvin, a former San Francisco Chronicle rock critic who wrote a book about the festival, \"Monterey Pop.\"\u003c/p>\n\u003cp>“This was the end of top 40 acts and the beginning of underground rock in one weekend,” he said.\u003c/p>\n\u003cfigure id=\"attachment_10992687\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/diamond-400x394.jpg\" alt=\"The cover of Neil Diamond's 1972 "Hot August Night" live double album is one of more than 200 album covers from the '60s, '70s and '80s credited to Caraeff.\" width=\"400\" height=\"394\" class=\"size-thumbnail wp-image-10992687\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-400x394.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond.jpg 704w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Neil Diamond's 1972 \"Hot August Night\" live double album is one of more than 200 album covers from the '60s, '70s and '80s credited to Caraeff.\u003c/figcaption>\u003c/figure>\n\u003cp>The three-day, five-show bill featured acts including San Francisco's Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company featuring Janis Joplin, and Los Angeles' The Byrds and Buffalo Springfield, as well as The Who.\u003c/p>\n\u003cp>The Monterey County Fairgrounds sold only 8,500 tickets, Selvin said, but another 20,000 kids showed up “to sort of hang out in the park nearby.” And so the modern rock festival was born.\u003c/p>\n\u003cp>Caraeff was there, with a photo press pass he scored through the KBLA underground rock newspaper and a Voigtlander camera he borrowed from his family optometrist. He staked out a chair in the photo pit at the edge of the stage, and watched rock history unfold before his eyes.\u003c/p>\n\u003cp>“Janis Joplin, I mean right there from my chair-eye view,\" he recalled. \"Otis Redding, that just blew me away. Simon and Garfunkel, that was so great to see that right up close like that, the two of them.\"\u003c/p>\n\u003cp>There were a few bands there almost no one had heard of. But a German photographer gave him a tip.\u003c/p>\n\u003cp>“I remember this vividly,” Caraeff said. “He said, 'save some film for this Jimi Hendrix cat.'”\u003c/p>\n\u003cp>Monterey was The Jimi Hendrix Experience's U.S. debut, and Hendrix was trying to make an impression. On stage, he was all over the place in a feather boa, ruffled orange shirt and tight red pants, doing backward somersaults and humping the amps. At the end of his set, he capped a cover of \"Wild Thing\" by lighting his guitar on fire -- right in front of Caraeff.\u003c/p>\n\u003cp>Hendrix was kneeling over the guitar, coaxing flames from the strings like a snake charmer.\u003c/p>\n\u003cfigure id=\"attachment_10992693\" class=\"wp-caption alignleft\" style=\"max-width: 937px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/The-Seeds-1.jpg\" alt=\"Psychedelic garage rockers The Seeds onstage at the Hullabaloo Club in Hollywood in 1966. The photo was 16-year-old Caraeff's first rock photography sale.\" width=\"937\" height=\"768\" class=\"size-full wp-image-10992693\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/The-Seeds-1.jpg 937w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/The-Seeds-1-400x328.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/The-Seeds-1-800x656.jpg 800w\" sizes=\"(max-width: 937px) 100vw, 937px\">\u003cfigcaption class=\"wp-caption-text\">Psychedelic garage rockers The Seeds onstage at the Hullabaloo Club in Hollywood in 1966. The photo was 16-year-old Caraeff's first rock photography sale. \u003ccite>(Photo courtesy of Ed Caraeff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The thing's burning right in front of my face,” Caraeff recalled. He held the camera in front of him to shield his face from the heat and pulled the lever to advance the film. It stuck -- he was at the end of the roll. He had one more shot.\u003c/p>\n\u003cp>He took it, and with it, took his own piece of rock 'n' roll history.\u003c/p>\n\u003cp>Caraeff's final shot that night has lasted a lifetime. Rolling Stone chose it for the cover of its Monterey Pop 20\u003csup>th\u003c/sup> anniversary issue in 1987, and it made the cover again for a special edition in 2012. It traveled around the world with the photo exhibit \"Who Shot Rock 'n' Roll\" from 2009-2013. Caraeff said it is his most famous photo -- and that's saying something.\u003c/p>\n\u003cp>Nearly 50 years after that night in Monterey, Caraeff is flipping through his archive, showing me photos from a long career that started on his high school lunch break and took him around the world as a professional rock photographer and record album art director.\u003c/p>\n\u003cp>He photographed and designed more than 200 record album covers in the '60s, '70s and '80s. His archive holds 300,000 photos of artists including Bob Dylan, Carly Simon, Tom Waits, Frank Zappa, Jim Morrison, Elton John and '70s rockers Three Dog Night, with whom he toured as official photographer. He has so many photos of Hendrix he's planning a whole book of them, due out next year. The story of Monterey was one of his first, but far from his last.\u003c/p>\n\u003cp>Now, he's started on a new adventure. After a long career as a photographer and an even longer one in the restaurant business, last year Caraeff got what he calls a “health wake-up call” and decided to make a change. He sold his house in Santa Monica and all his stuff, and he hit the road for what he calls his “bucket list trip,” living and traveling full time in his Volkswagen camper, \"Moonbeam.\"\u003c/p>\n\u003cp>It's tight quarters, but with all the comforts of home. Moonbeam is tricked out with a rug from Nepal, solar lights and a kitchen rack with 21 different spice jars. Caraeff even has a satellite phone. There are no rock 'n' roll photos on the walls. “Photos of my grandkids,” he offered with a smile.\u003c/p>\n\u003cp>But the musicians he photographed are always with him, in the music he plays on the road. “It's like the soundtrack to my life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And when he turns on the radio, it’s 1967 all over again: The Hombres' \"Let it All Hang Out\" comes over the speakers, and Caraeff starts singing along. He's heading up the coast on another summer road trip. He said he plans to drive right past Monterey -- and keep on going.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The owners of Aquarius Records, San Francisco’s longest-running independent record store and a noted source for eclectic music from all over the world, announced Friday that they sold it and though it would stay a record shop, it will operate under a different name.\u003c/p>\n\u003cp>In a statement \u003ca href=\"http://www.aquariusrecords.org/cat/5025.html\" target=\"_blank\" rel=\"noopener\">published on their website\u003c/a>, owners Allan Horrocks and Andee Connors informed their patrons that they would be selling the store to the proprietors of Stranded Records in Oakland. The tiny storefront in San Francisco’s Mission District will become a second location for the young but growing music retailer.\u003c/p>\n\u003cp>Aquarius will operate as it is now until July 4, when it will shut down for renovations and remodeling. The new owners plan to reopen the new Stranded on July 29.\u003c/p>\n\u003cp>In a phone interview Friday afternoon, Horrocks said that both he and Connors decided to sell the store when they realized it needed to be revitalized but they couldn’t commit to it. Co-owners since 2003, Horrocks was too busy with his 2-year-old daughter and Connors has other projects he wanted to concentrate on. The store and its extensive mail order catalog was a “labor of love” that the two found they couldn’t give the attention they felt it deserved.\u003c/p>\n\u003cp>“We were looking to have someone take it over, and after some searching and discussion, we knew the guys over at Stranded were interested in opening a new shop,” said Horrocks. “This store needed a reboot and we couldn’t really do it ourselves. I feel fortunate because the people we found have similar tastes and attitudes about a lot of the music. We certainly like their label \u003ca href=\"http://www.superiorviaduct.com/\" target=\"_blank\" rel=\"noopener\">Superior Viaduct\u003c/a>.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aquarius Records first opened \u003ca href=\"http://www.aquariusrecords.org/history.html\" target=\"_blank\" rel=\"noopener\">in 1970 in the Castro\u003c/a>, and for a long period it was located by the camera shop run by Harvey Milk, an influential gay activist who would become the nation’s first openly gay politician. In the ’80s it moved to Noe Valley, and then it moved to its current location in the Mission District in 1996. Both Horrocks and Connors have been working at the store since it was located in Noe Valley.\u003c/p>\n\u003cp>Besides the name change, Horrocks says that customers should expect to see more records and less CDs at the store — Stranded is mainly a vinyl seller — and the selection of releases could change. But it will remain a record store and retain its current staff — no one’s getting fired — and to him that’s what matters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The new guys will be doing things a little differently but the same staff will be here,” Horrocks said. “It will be different but the same, and it’s a way for it to survive.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The owners of Aquarius Records, San Francisco’s longest-running independent record store and a noted source for eclectic music from all over the world, announced Friday that they sold it and though it would stay a record shop, it will operate under a different name.\u003c/p>\n\u003cp>In a statement \u003ca href=\"http://www.aquariusrecords.org/cat/5025.html\" target=\"_blank\" rel=\"noopener\">published on their website\u003c/a>, owners Allan Horrocks and Andee Connors informed their patrons that they would be selling the store to the proprietors of Stranded Records in Oakland. The tiny storefront in San Francisco’s Mission District will become a second location for the young but growing music retailer.\u003c/p>\n\u003cp>Aquarius will operate as it is now until July 4, when it will shut down for renovations and remodeling. The new owners plan to reopen the new Stranded on July 29.\u003c/p>\n\u003cp>In a phone interview Friday afternoon, Horrocks said that both he and Connors decided to sell the store when they realized it needed to be revitalized but they couldn’t commit to it. Co-owners since 2003, Horrocks was too busy with his 2-year-old daughter and Connors has other projects he wanted to concentrate on. The store and its extensive mail order catalog was a “labor of love” that the two found they couldn’t give the attention they felt it deserved.\u003c/p>\n\u003cp>“We were looking to have someone take it over, and after some searching and discussion, we knew the guys over at Stranded were interested in opening a new shop,” said Horrocks. “This store needed a reboot and we couldn’t really do it ourselves. I feel fortunate because the people we found have similar tastes and attitudes about a lot of the music. We certainly like their label \u003ca href=\"http://www.superiorviaduct.com/\" target=\"_blank\" rel=\"noopener\">Superior Viaduct\u003c/a>.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aquarius Records first opened \u003ca href=\"http://www.aquariusrecords.org/history.html\" target=\"_blank\" rel=\"noopener\">in 1970 in the Castro\u003c/a>, and for a long period it was located by the camera shop run by Harvey Milk, an influential gay activist who would become the nation’s first openly gay politician. In the ’80s it moved to Noe Valley, and then it moved to its current location in the Mission District in 1996. Both Horrocks and Connors have been working at the store since it was located in Noe Valley.\u003c/p>\n\u003cp>Besides the name change, Horrocks says that customers should expect to see more records and less CDs at the store — Stranded is mainly a vinyl seller — and the selection of releases could change. But it will remain a record store and retain its current staff — no one’s getting fired — and to him that’s what matters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The new guys will be doing things a little differently but the same staff will be here,” Horrocks said. “It will be different but the same, and it’s a way for it to survive.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The LA-based owner of two music stations on the Central Coast has decided to unload them. But classical music fans there have nothing to fear. San Francisco classical music station \u003ca href=\"http://www.kdfc.com/\" target=\"_blank\" rel=\"noopener\">KDFC \u003c/a>is scooping them up.\u003c/p>\n\u003cp>Public radio’s KDFC and its corporate parent, \u003ca href=\"http://www.uscradiogroup.org/\" target=\"_blank\" rel=\"noopener\">USC Radio Group\u003c/a>, broadcast classical music from Ukiah all the way down to Orange County. KDFC president Bill Lueth says they weren’t shopping for new stations. But Leuth says Saul Levine, the owner of \u003ca href=\"http://www.mountwilsoninc.com/\" target=\"_blank\" rel=\"noopener\">Mt. Wilson Wilson Broadcasters\u003c/a>, which broadcasts on\u003ca href=\"http://q1039thehits.com/\" target=\"_blank\" rel=\"noopener\"> 103.9 in Monterey\u003c/a> and \u003ca href=\"http://kmozartmonterey.com/\" target=\"_blank\" rel=\"noopener\">95.9 in Big Sur\u003c/a>, wanted to give first dibs to people who’d stick with the classical format. “He was nice enough to reach out to us to say ‘Hey, I’m gonna put this up for sale,'” Leuth says. “‘Would you guys like it?’”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/269637897″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Brenda Barnes, president of USC Radio Group, wrote in the press release: “We are grateful that Saul Levine came to us first in order to ensure these important communities had a strong classical music service.”\u003c/p>\n\u003cp>Leuth says the aging audience for classical music makes it a hard sell to advertisers. But a non-profit can do just fine with listeners 45 and older. The Los Angeles-based station \u003ca href=\"http://www.kusc.org/about-us.aspx\" target=\"_blank\" rel=\"noopener\">KUSC\u003c/a>, for instance, is the most popular classical music station in the country. And KDFC, one of very few stations that offers classical music in the Bay Area, is in the top five.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”BSOmxLGMEJ7KTFgQiL7rZydMunNGD5iT”]”No one can take classical music away as long as listeners support it,” Lueth says. He adds the mission-driven nature of non-profit classical stations naturally leads to on-air promotion of local music organizations.\u003c/p>\n\u003cp>There’s plenty of those on the central California coast. “There’s the Monterey Symphony, the Santa Cruz Symphony, the Carmel Bach Festival and the Cabrillo Festival” Leuth says. “We can help shine a light for those groups that do so much good work.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the Federal Communications Commission agrees, possibly by summer’s end, the call letters will change, and KDFC will pipe a repeater signal south. It’s not local radio, but it’s more local than the automated programming from LA listeners there get now.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The LA-based owner of two music stations on the Central Coast has decided to unload them. But classical music fans there have nothing to fear. San Francisco classical music station \u003ca href=\"http://www.kdfc.com/\" target=\"_blank\" rel=\"noopener\">KDFC \u003c/a>is scooping them up.\u003c/p>\n\u003cp>Public radio’s KDFC and its corporate parent, \u003ca href=\"http://www.uscradiogroup.org/\" target=\"_blank\" rel=\"noopener\">USC Radio Group\u003c/a>, broadcast classical music from Ukiah all the way down to Orange County. KDFC president Bill Lueth says they weren’t shopping for new stations. But Leuth says Saul Levine, the owner of \u003ca href=\"http://www.mountwilsoninc.com/\" target=\"_blank\" rel=\"noopener\">Mt. Wilson Wilson Broadcasters\u003c/a>, which broadcasts on\u003ca href=\"http://q1039thehits.com/\" target=\"_blank\" rel=\"noopener\"> 103.9 in Monterey\u003c/a> and \u003ca href=\"http://kmozartmonterey.com/\" target=\"_blank\" rel=\"noopener\">95.9 in Big Sur\u003c/a>, wanted to give first dibs to people who’d stick with the classical format. “He was nice enough to reach out to us to say ‘Hey, I’m gonna put this up for sale,'” Leuth says. “‘Would you guys like it?’”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/269637897″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/269637897″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Brenda Barnes, president of USC Radio Group, wrote in the press release: “We are grateful that Saul Levine came to us first in order to ensure these important communities had a strong classical music service.”\u003c/p>\n\u003cp>Leuth says the aging audience for classical music makes it a hard sell to advertisers. But a non-profit can do just fine with listeners 45 and older. The Los Angeles-based station \u003ca href=\"http://www.kusc.org/about-us.aspx\" target=\"_blank\" rel=\"noopener\">KUSC\u003c/a>, for instance, is the most popular classical music station in the country. And KDFC, one of very few stations that offers classical music in the Bay Area, is in the top five.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>”No one can take classical music away as long as listeners support it,” Lueth says. He adds the mission-driven nature of non-profit classical stations naturally leads to on-air promotion of local music organizations.\u003c/p>\n\u003cp>There’s plenty of those on the central California coast. “There’s the Monterey Symphony, the Santa Cruz Symphony, the Carmel Bach Festival and the Cabrillo Festival” Leuth says. “We can help shine a light for those groups that do so much good work.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the Federal Communications Commission agrees, possibly by summer’s end, the call letters will change, and KDFC will pipe a repeater signal south. It’s not local radio, but it’s more local than the automated programming from LA listeners there get now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Directions: Anthony Wilson's 'Frogtown' and Terrie Odabi's 'My Blue Soul'",
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"content": "\u003cp>\u003ca href=\"http://www.anthonywilsonmusic.com/\">Anthony Wilson\u003c/a> is hardly the first jazz musician to reinvent his sound, but his evolution from internationally esteemed guitar maestro to singer/songwriter on his new album “Frogtown” (Goat Hill Recordings) is likely to catch many of his fans by surprise.\u003c/p>\n\u003cp>The son of the late, legendary Los Angeles arranger, composer and \u003ca href=\"http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html\">bandleader Gerald Wilson\u003c/a>, he first made his mark as a composer with a series of \u003ca href=\"https://www.youtube.com/watch?v=F7SrFXI3ZKU\">brilliant nonet sessions\u003c/a> in the late 1990s. He’s covered a lot of ground since then, putting his own stamp on the Hammond B-3 organ format, collaborating with the great Brazilian \u003ca href=\"http://www.chicopinheiro.com/\">guitarist/composer Chico Pinheiro\u003c/a>, and delivering elegantly sculpted solos for recordings by the likes of Paul McCartney, Willie Nelson, Barbra Streisand and Aaron Neville.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/269688211\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>He’s spent the past 15 years touring and recording with Diana Krall, and somewhere along the line started to feel that he needed to write his own songs. On “Frogtown” his songwriting is distinguished by the same kind of craftsmanship that marked his jazz composing, with a spacious but meticulous sound that sometimes brings to mind Neil Young or James Taylor. He recruited a stellar cast of players, including drummers Mike Chamberlain and Jim Keltner, violinist Petra Haden, pianist/keyboardist Patrick Warren and \u003ca href=\"https://en.wikipedia.org/wiki/Mike_Elizondo\">bassist Mike Elizondo\u003c/a> (who also produced the album).\u003cimg class=\"alignnone size-medium wp-image-10991917\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg\" alt=\"Frogtown - LP Cover - Revised\" width=\"1\" height=\"1\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg 3684w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-400x404.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-800x807.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1920x1937.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1180x1191.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-960x969.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1038x576.jpg 1038w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-280x150.jpg 280w\" sizes=\"(max-width: 1px) 100vw, 1px\">\u003c/p>\n\u003cp>The album alternates between pieces featuring Wilson’s vocals and instrumental tracks, which often seem to expand or comment on the previous or following lyric. The plaintive opening anthem “She Won’t Look Back\" gives way to the optimistically jaunty title track like a candle lit in the dusk. The earnestly yearning ballad “Your Footprints,” which features saxophone legend Charles Lloyd, flows into Wilson's playful arrangement of the traditional Italian song “Occhi di Bambola,” the album’s only cover.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10991917\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg\" alt=\"Frogtown - LP Cover - Revised\" width=\"1\" height=\"1\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg 3684w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-400x404.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-800x807.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1920x1937.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1180x1191.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-960x969.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1038x576.jpg 1038w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-280x150.jpg 280w\" sizes=\"(max-width: 1px) 100vw, 1px\">\u003c/p>\n\u003cfigure id=\"attachment_10991915\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10991915\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-800x533.jpg\" alt=\"Anthony Wilson. Photo by Ian Gittler.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Wilson. Photo by Ian Gittler.\u003c/figcaption>\u003c/figure>\n\u003cp>At first, it seemed strange that he didn’t draw on the extraordinary vocal talents of \u003ca href=\"https://www.youtube.com/watch?v=VNFoNBz9Dbs\">Petra Haden\u003c/a>. Everyone else seems to these days (check out her recent work with guitarist Bill Frisell, singer/songwriter Jesse Harris, and \u003ca href=\"https://www.youtube.com/watch?v=dFQykbH3mYE\">David Byrne\u003c/a>). But the deeper I ventured into “Frogtown,” the more his voice grew on me. Wilson explores a lot of interesting emotional territory, with a decidedly Steely Danian vein of resigned desperation (or is it desperate resignation?) that comes through most clearly on the deceptively lulling “Arcadia,” which sketches a suburban idyll slowly curdling with the concluding couplet “Now they’ve come for me/I’ll go quietly.”\u003c/p>\n\u003cp>If “Frogtown” represents a left turn for Wilson, Oakland vocalist \u003ca href=\"https://www.facebook.com/Terrie-Odabi-Vocalist-296953356991097/\">Terrie Odabi\u003c/a>’s debut album “My Blue Soul” is the culmination of a decade-long quest. Over the years she’s sung jazz and standards with the great Bay Area saxophonist Jules Broussard and performed world music with the pioneering \u003ca href=\"http://www.ciis.edu/faculty-and-staff-directory/carolyn-brandy\">percussionist Carolyn Brandy\u003c/a>. Her abundant soul and improvisational prowess has made her a crucial contributor to trombonist Steve Turré’s annual Rahsaan Roland Kirk celebration at San Jose’s \u003ca href=\"http://www.cafestritch.com/\">Café Stritch\u003c/a> (which returns on Aug. 3-7).\u003c/p>\n\u003cp>But after years of feeling not quite at home in jazz and R&B settings she decided to try out the Bay Area blues scene, and now she’s selling out just about every show. More than a powerhouse vocalist with a velvet sledgehammer delivery, she’s a savvy songwriter who draws on an unusually deep well of experience. She covers a few classics on \"My Blue Soul,\" like Big Mama Thornton’s “Ball and Chain,” and the spiritual “Wade in the Water,” but I think some of the best tunes are hers, like the sleek and grooving declaration of independence “Live My Life” featuring \u003ca href=\"https://www.facebook.com/doakanthony\">guitarist Khalil Doak-Anthony\u003c/a>, organist Lorenzo Hawkins, and drummer Derrick Martin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I particularly love the opening track “Gentrification Blues.” I spoke with Odabi last month for a \u003ca href=\"http://ww2.kqed.org/arts/2016/05/20/after-suhrs-resignation-bay-area-musicians-keep-pushing-for-change/\">KQED Arts story\u003c/a> about musicians and political activism, and she said that until now she’d kept her politics out of her music. But as an Oakland native she felt she couldn’t ignore the changes going on. This song could be an anthem for the movement to preserve Oakland’s African-American culture. But then “My Blue Soul” is almost a manifesto that makes an incontrovertible case for the enduring power of traditional black forms. Odabi may be a relative newcomer to the scene. Her songs tap into the music's deepest wellsprings, and this album should cement her status as Bay Area blues royalty\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.anthonywilsonmusic.com/\">Anthony Wilson\u003c/a> is hardly the first jazz musician to reinvent his sound, but his evolution from internationally esteemed guitar maestro to singer/songwriter on his new album “Frogtown” (Goat Hill Recordings) is likely to catch many of his fans by surprise.\u003c/p>\n\u003cp>The son of the late, legendary Los Angeles arranger, composer and \u003ca href=\"http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html\">bandleader Gerald Wilson\u003c/a>, he first made his mark as a composer with a series of \u003ca href=\"https://www.youtube.com/watch?v=F7SrFXI3ZKU\">brilliant nonet sessions\u003c/a> in the late 1990s. He’s covered a lot of ground since then, putting his own stamp on the Hammond B-3 organ format, collaborating with the great Brazilian \u003ca href=\"http://www.chicopinheiro.com/\">guitarist/composer Chico Pinheiro\u003c/a>, and delivering elegantly sculpted solos for recordings by the likes of Paul McCartney, Willie Nelson, Barbra Streisand and Aaron Neville.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/269688211&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/269688211'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He’s spent the past 15 years touring and recording with Diana Krall, and somewhere along the line started to feel that he needed to write his own songs. On “Frogtown” his songwriting is distinguished by the same kind of craftsmanship that marked his jazz composing, with a spacious but meticulous sound that sometimes brings to mind Neil Young or James Taylor. He recruited a stellar cast of players, including drummers Mike Chamberlain and Jim Keltner, violinist Petra Haden, pianist/keyboardist Patrick Warren and \u003ca href=\"https://en.wikipedia.org/wiki/Mike_Elizondo\">bassist Mike Elizondo\u003c/a> (who also produced the album).\u003cimg class=\"alignnone size-medium wp-image-10991917\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg\" alt=\"Frogtown - LP Cover - Revised\" width=\"1\" height=\"1\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg 3684w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-400x404.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-800x807.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1920x1937.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1180x1191.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-960x969.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1038x576.jpg 1038w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-280x150.jpg 280w\" sizes=\"(max-width: 1px) 100vw, 1px\">\u003c/p>\n\u003cp>The album alternates between pieces featuring Wilson’s vocals and instrumental tracks, which often seem to expand or comment on the previous or following lyric. The plaintive opening anthem “She Won’t Look Back\" gives way to the optimistically jaunty title track like a candle lit in the dusk. The earnestly yearning ballad “Your Footprints,” which features saxophone legend Charles Lloyd, flows into Wilson's playful arrangement of the traditional Italian song “Occhi di Bambola,” the album’s only cover.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10991917\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg\" alt=\"Frogtown - LP Cover - Revised\" width=\"1\" height=\"1\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg 3684w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-400x404.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-800x807.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1920x1937.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1180x1191.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-960x969.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1038x576.jpg 1038w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-280x150.jpg 280w\" sizes=\"(max-width: 1px) 100vw, 1px\">\u003c/p>\n\u003cfigure id=\"attachment_10991915\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10991915\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-800x533.jpg\" alt=\"Anthony Wilson. Photo by Ian Gittler.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Wilson. Photo by Ian Gittler.\u003c/figcaption>\u003c/figure>\n\u003cp>At first, it seemed strange that he didn’t draw on the extraordinary vocal talents of \u003ca href=\"https://www.youtube.com/watch?v=VNFoNBz9Dbs\">Petra Haden\u003c/a>. Everyone else seems to these days (check out her recent work with guitarist Bill Frisell, singer/songwriter Jesse Harris, and \u003ca href=\"https://www.youtube.com/watch?v=dFQykbH3mYE\">David Byrne\u003c/a>). But the deeper I ventured into “Frogtown,” the more his voice grew on me. Wilson explores a lot of interesting emotional territory, with a decidedly Steely Danian vein of resigned desperation (or is it desperate resignation?) that comes through most clearly on the deceptively lulling “Arcadia,” which sketches a suburban idyll slowly curdling with the concluding couplet “Now they’ve come for me/I’ll go quietly.”\u003c/p>\n\u003cp>If “Frogtown” represents a left turn for Wilson, Oakland vocalist \u003ca href=\"https://www.facebook.com/Terrie-Odabi-Vocalist-296953356991097/\">Terrie Odabi\u003c/a>’s debut album “My Blue Soul” is the culmination of a decade-long quest. Over the years she’s sung jazz and standards with the great Bay Area saxophonist Jules Broussard and performed world music with the pioneering \u003ca href=\"http://www.ciis.edu/faculty-and-staff-directory/carolyn-brandy\">percussionist Carolyn Brandy\u003c/a>. Her abundant soul and improvisational prowess has made her a crucial contributor to trombonist Steve Turré’s annual Rahsaan Roland Kirk celebration at San Jose’s \u003ca href=\"http://www.cafestritch.com/\">Café Stritch\u003c/a> (which returns on Aug. 3-7).\u003c/p>\n\u003cp>But after years of feeling not quite at home in jazz and R&B settings she decided to try out the Bay Area blues scene, and now she’s selling out just about every show. More than a powerhouse vocalist with a velvet sledgehammer delivery, she’s a savvy songwriter who draws on an unusually deep well of experience. She covers a few classics on \"My Blue Soul,\" like Big Mama Thornton’s “Ball and Chain,” and the spiritual “Wade in the Water,” but I think some of the best tunes are hers, like the sleek and grooving declaration of independence “Live My Life” featuring \u003ca href=\"https://www.facebook.com/doakanthony\">guitarist Khalil Doak-Anthony\u003c/a>, organist Lorenzo Hawkins, and drummer Derrick Martin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I particularly love the opening track “Gentrification Blues.” I spoke with Odabi last month for a \u003ca href=\"http://ww2.kqed.org/arts/2016/05/20/after-suhrs-resignation-bay-area-musicians-keep-pushing-for-change/\">KQED Arts story\u003c/a> about musicians and political activism, and she said that until now she’d kept her politics out of her music. But as an Oakland native she felt she couldn’t ignore the changes going on. This song could be an anthem for the movement to preserve Oakland’s African-American culture. But then “My Blue Soul” is almost a manifesto that makes an incontrovertible case for the enduring power of traditional black forms. Odabi may be a relative newcomer to the scene. Her songs tap into the music's deepest wellsprings, and this album should cement her status as Bay Area blues royalty\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Connie Wolf, director of the \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center\u003c/a> for nearly five years, announced Wednesday that she’s leaving her post, according to a statement released to the center’s staff and friends.\u003c/p>\n\u003cp>Talking to the \u003ca href=\"http://www.sfgate.com/art/article/Wolf-quits-post-as-head-of-Stanford-s-Cantor-8213955.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>, Wolf said she’d simply accomplished what she set out to do at Stanford. It’s not clear why she decided to leave and leave now, but it’s widely accepted Wolf took the museum from a campus treat to a regional powerhouse.\u003c/p>\n\u003cp>Stanford’s Dean of Humanities and Sciences, Richard Saller, has only high praise for Wolf. “I’ve appreciated her energy, intelligence, discernment,” Saller told KQED. “In many ways, she’s leaving Cantor a stronger museum than she found it.” He adds one of her main mandates was to more tightly integrate the museum with the campus, and Saller says she succeeded, noting “There are many more students in the museum doing internships and taking classes.”\u003c/p>\n\u003cp>Wolf is credited with increasing the free museum’s annual attendance by 60 percent, and improving both the \u003ca href=\"http://www.sfgate.com/art/article/Wolf-quits-post-as-head-of-Stanford-s-Cantor-8213955.php\" target=\"_blank\" rel=\"noopener\">museum’s collection and standing in the art world\u003c/a>. Under her leadership, the Cantor acquired works from artists such as Edward Hopper, Andy Warhol and Richard Diebenkorn, and exhibited big name photographers like Lee Friedlander and Robert Frank.\u003c/p>\n\u003cp>Before coming to Stanford in 2012, Wolf was the director and CEO of San Francisco’s \u003ca href=\"http://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a> (CJM). After taking the position in 1999, Wolf would go on to raise $110 million for the CJM, which was used to build a 63,000-square foot-facility in the city’s downtown — before then, the CJM was located in a 2,500-sq. ft building — and create a $25 million endowment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wiley Hausam, who last year left his position as Stanford’s head of performing arts, wrote “She is obviously brilliant at her job, and this is evidenced by the succession of major exhibitions she brought to campus. I know Stanford will miss her, and I look forward to hearing what is next for her.”\u003c/p>\n\u003cp>Stanford officials will not appoint an interim director while a committee searches for Wolf’s replacement.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/269639663″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Below is the statement released to the Cantor Arts Center staff and friends on Wednesday:\u003c/i>\u003c/p>\n\u003cblockquote>\u003cp>Dear Members and Friends,\u003c/p>\n\u003cp>The Iris & B. Gerald Cantor Center for Visual Arts at Stanford University announces that Connie Wolf, the John and Jill Freidenrich Director, is on sabbatical this summer and has elected not to return in the fall. She departs leaving the museum a vibrant and thriving resource for the community with a senior management team at the Cantor who will manage daily operations until a new director is on board, and all exhibitions, programs, and projects will continue to move forward.\u003c/p>\n\u003cp>Connie Wolf joined Stanford in January 2012 and her achievements while at the helm of the Cantor are numerous. Attendance is up nearly 60% from five years ago. The permanent collection has been enriched and strengthened, particularly in the area of twentieth century art with major acquisitions of works by Richard Diebenkorn, Edward Hopper, Jacob Lawrence, and Andy Warhol. Nearly all of the permanent collection is accessible online after a comprehensive inventory and digitization project and museum hours increased from five days a week to six. Family Sundays tours and art-making activities have become a community favorite.\u003c/p>\n\u003cp>Connie oversaw the construction of an art-viewing classroom, the Wilsey Family Classroom, and significant expansion of Stanford course visits to engage with the collection. She also secured two grants from the Andrew W. Mellon Foundation to support the training of art history PhD candidates through seminars, publications, and exhibitions focused on the permanent collection.\u003c/p>\n\u003cp>We are grateful for your support and engagement and we hope you will have a chance to visit soon!\u003c/p>\n\u003cp>Sincerely,\u003cbr>\nMatthew Tiews\u003cbr>\nAssociate Dean for the Advancement of the Arts\u003cbr>\nStanford University\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Connie Wolf, director of the \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center\u003c/a> for nearly five years, announced Wednesday that she’s leaving her post, according to a statement released to the center’s staff and friends.\u003c/p>\n\u003cp>Talking to the \u003ca href=\"http://www.sfgate.com/art/article/Wolf-quits-post-as-head-of-Stanford-s-Cantor-8213955.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>, Wolf said she’d simply accomplished what she set out to do at Stanford. It’s not clear why she decided to leave and leave now, but it’s widely accepted Wolf took the museum from a campus treat to a regional powerhouse.\u003c/p>\n\u003cp>Stanford’s Dean of Humanities and Sciences, Richard Saller, has only high praise for Wolf. “I’ve appreciated her energy, intelligence, discernment,” Saller told KQED. “In many ways, she’s leaving Cantor a stronger museum than she found it.” He adds one of her main mandates was to more tightly integrate the museum with the campus, and Saller says she succeeded, noting “There are many more students in the museum doing internships and taking classes.”\u003c/p>\n\u003cp>Wolf is credited with increasing the free museum’s annual attendance by 60 percent, and improving both the \u003ca href=\"http://www.sfgate.com/art/article/Wolf-quits-post-as-head-of-Stanford-s-Cantor-8213955.php\" target=\"_blank\" rel=\"noopener\">museum’s collection and standing in the art world\u003c/a>. Under her leadership, the Cantor acquired works from artists such as Edward Hopper, Andy Warhol and Richard Diebenkorn, and exhibited big name photographers like Lee Friedlander and Robert Frank.\u003c/p>\n\u003cp>Before coming to Stanford in 2012, Wolf was the director and CEO of San Francisco’s \u003ca href=\"http://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a> (CJM). After taking the position in 1999, Wolf would go on to raise $110 million for the CJM, which was used to build a 63,000-square foot-facility in the city’s downtown — before then, the CJM was located in a 2,500-sq. ft building — and create a $25 million endowment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wiley Hausam, who last year left his position as Stanford’s head of performing arts, wrote “She is obviously brilliant at her job, and this is evidenced by the succession of major exhibitions she brought to campus. I know Stanford will miss her, and I look forward to hearing what is next for her.”\u003c/p>\n\u003cp>Stanford officials will not appoint an interim director while a committee searches for Wolf’s replacement.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/269639663″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/269639663″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Below is the statement released to the Cantor Arts Center staff and friends on Wednesday:\u003c/i>\u003c/p>\n\u003cblockquote>\u003cp>Dear Members and Friends,\u003c/p>\n\u003cp>The Iris & B. Gerald Cantor Center for Visual Arts at Stanford University announces that Connie Wolf, the John and Jill Freidenrich Director, is on sabbatical this summer and has elected not to return in the fall. She departs leaving the museum a vibrant and thriving resource for the community with a senior management team at the Cantor who will manage daily operations until a new director is on board, and all exhibitions, programs, and projects will continue to move forward.\u003c/p>\n\u003cp>Connie Wolf joined Stanford in January 2012 and her achievements while at the helm of the Cantor are numerous. Attendance is up nearly 60% from five years ago. The permanent collection has been enriched and strengthened, particularly in the area of twentieth century art with major acquisitions of works by Richard Diebenkorn, Edward Hopper, Jacob Lawrence, and Andy Warhol. Nearly all of the permanent collection is accessible online after a comprehensive inventory and digitization project and museum hours increased from five days a week to six. Family Sundays tours and art-making activities have become a community favorite.\u003c/p>\n\u003cp>Connie oversaw the construction of an art-viewing classroom, the Wilsey Family Classroom, and significant expansion of Stanford course visits to engage with the collection. She also secured two grants from the Andrew W. Mellon Foundation to support the training of art history PhD candidates through seminars, publications, and exhibitions focused on the permanent collection.\u003c/p>\n\u003cp>We are grateful for your support and engagement and we hope you will have a chance to visit soon!\u003c/p>\n\u003cp>Sincerely,\u003cbr>\nMatthew Tiews\u003cbr>\nAssociate Dean for the Advancement of the Arts\u003cbr>\nStanford University\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Twenty-four years after its founding, the Mission’s Clarion Alley Mural Project (CAMP), a community-based arts space occupying the walls along a 560-foot-long alley between 17th and 18th Streets and Mission and Valencia Streets in San Francisco’s Mission district, \u003ca href=\"http://clarionalleymuralproject.org/\" target=\"_blank\" rel=\"noopener\">unveiled its first website\u003c/a> on Wednesday.\u003c/p>\n\u003cp>The launch of the comprehensive online archive comes with the news of CAMP’s decision to become a nonprofit organization to better support artists’ intellectual property rights and disseminate the social and political messages of the alley’s murals.\u003c/p>\n\u003cfigure id=\"attachment_11691470\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11691470\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200.jpg\" alt=\"Muralists at work in Clarion Alley.\" width=\"1200\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-960x717.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Muralists at work in Clarion Alley. \u003ccite>(Courtesy of Clarion Alley Mural Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since 1992, Clarion Alley has been the site of more than 700 murals, many created by Bay Area and international artists known for their street art and activism. Now, thanks to CAMP’s thorough documentation efforts, viewers can visit the alley remotely, traveling through time to see, among other eye-catching works, Alicia McCarthy’s 1998 mural \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/where-the-rainbow-meets-the-better-end/\" target=\"_blank\" rel=\"noopener\">Where the Bitter End Meets the Rainbow\u003c/a>\u003c/i>, Aaron Noble and Rigo 23’s 2000 mural \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/superhero-warehouse/\" target=\"_blank\" rel=\"noopener\">Superhero Warehouse\u003c/a>\u003c/i> and Mel C. Waters’ more recent \u003ca href=\"http://clarionalleymuralproject.org/mural/rest-in-purple/\" target=\"_blank\" rel=\"noopener\">homage to Prince\u003c/a>.\u003c/p>\n\u003cp>The documentation also captures CAMP’s overarching themes of education, resistance and community celebration. The Dope Project’s 2013 mural \u003ci>Narcania VS Death\u003c/i> offers a comic book-style narrative of drug overdose prevention. In a 2014 response to the \u003ca href=\"https://www.youtube.com/watch?v=awPVY1DcupE\" target=\"_blank\" rel=\"noopener\">Mission Playground soccer field confrontation\u003c/a>, Ivy Jeanne McClelland painted the powerful \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/this-city-is-not-for-sale/\" target=\"_blank\" rel=\"noopener\">This City is Not For Sale\u003c/a>\u003c/i>. Installed this year, D8’s stark \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/white-men-cant-police-imagination/\" target=\"_blank\" rel=\"noopener\">Because White Men Can’t Police Their Imagination\u003c/a>\u003c/i> and José V. Guerra Awe’s \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/rise-in-power/\" target=\"_blank\" rel=\"noopener\">Rise in Power\u003c/a>\u003c/i> condemn the nationwide epidemic of POC deaths in “officer involved” shootings.\u003c/p>\n\u003cfigure id=\"attachment_11691469\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11691469\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200.jpg\" alt=\"Celebrating CAMP's 22nd anniversary in 2014.\" width=\"1200\" height=\"798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-960x638.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Celebrating CAMP’s 22nd anniversary in 2014. \u003ccite>(Courtesy of Clarion Alley Mural Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clarion Alley has long been a stopping point on walking tours of the Mission and a frequent draw for locals and tourists alike. CAMP estimates over 200,000 people visit the corridor each year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of CAMP’s efforts — furthered by the new website — include educating the public and those who would seek to use the alley’s murals as backdrops for commercial gain, about the often hard-to-grasp fact that the murals are not “free for the taking” simply because they exist on the street. CAMP oversees the reproduction of its artists’ murals in films, books, on clothing and in commercial photographs through \u003ca href=\"http://clarionalleymuralproject.org/about/mural-faq-licensing-film-video-photography/\" target=\"_blank\" rel=\"noopener\">licensing agreements\u003c/a>, the fees going to both CAMP and the artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While CAMP’s new website demonstrates a long and colorful history, the project is nowhere near complete. A \u003ca href=\"http://clarionalleymuralproject.org/mural/new-mural-rigo-23/\" target=\"_blank\" rel=\"noopener\">Rigo 23 mural from 2012\u003c/a> captures the spirit of the project succinctly: “Building a better future is a full-life job.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty-four years after its founding, the Mission’s Clarion Alley Mural Project (CAMP), a community-based arts space occupying the walls along a 560-foot-long alley between 17th and 18th Streets and Mission and Valencia Streets in San Francisco’s Mission district, \u003ca href=\"http://clarionalleymuralproject.org/\" target=\"_blank\" rel=\"noopener\">unveiled its first website\u003c/a> on Wednesday.\u003c/p>\n\u003cp>The launch of the comprehensive online archive comes with the news of CAMP’s decision to become a nonprofit organization to better support artists’ intellectual property rights and disseminate the social and political messages of the alley’s murals.\u003c/p>\n\u003cfigure id=\"attachment_11691470\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11691470\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200.jpg\" alt=\"Muralists at work in Clarion Alley.\" width=\"1200\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_5_1200-960x717.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Muralists at work in Clarion Alley. \u003ccite>(Courtesy of Clarion Alley Mural Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since 1992, Clarion Alley has been the site of more than 700 murals, many created by Bay Area and international artists known for their street art and activism. Now, thanks to CAMP’s thorough documentation efforts, viewers can visit the alley remotely, traveling through time to see, among other eye-catching works, Alicia McCarthy’s 1998 mural \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/where-the-rainbow-meets-the-better-end/\" target=\"_blank\" rel=\"noopener\">Where the Bitter End Meets the Rainbow\u003c/a>\u003c/i>, Aaron Noble and Rigo 23’s 2000 mural \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/superhero-warehouse/\" target=\"_blank\" rel=\"noopener\">Superhero Warehouse\u003c/a>\u003c/i> and Mel C. Waters’ more recent \u003ca href=\"http://clarionalleymuralproject.org/mural/rest-in-purple/\" target=\"_blank\" rel=\"noopener\">homage to Prince\u003c/a>.\u003c/p>\n\u003cp>The documentation also captures CAMP’s overarching themes of education, resistance and community celebration. The Dope Project’s 2013 mural \u003ci>Narcania VS Death\u003c/i> offers a comic book-style narrative of drug overdose prevention. In a 2014 response to the \u003ca href=\"https://www.youtube.com/watch?v=awPVY1DcupE\" target=\"_blank\" rel=\"noopener\">Mission Playground soccer field confrontation\u003c/a>, Ivy Jeanne McClelland painted the powerful \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/this-city-is-not-for-sale/\" target=\"_blank\" rel=\"noopener\">This City is Not For Sale\u003c/a>\u003c/i>. Installed this year, D8’s stark \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/white-men-cant-police-imagination/\" target=\"_blank\" rel=\"noopener\">Because White Men Can’t Police Their Imagination\u003c/a>\u003c/i> and José V. Guerra Awe’s \u003ci>\u003ca href=\"http://clarionalleymuralproject.org/mural/rise-in-power/\" target=\"_blank\" rel=\"noopener\">Rise in Power\u003c/a>\u003c/i> condemn the nationwide epidemic of POC deaths in “officer involved” shootings.\u003c/p>\n\u003cfigure id=\"attachment_11691469\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11691469\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200.jpg\" alt=\"Celebrating CAMP's 22nd anniversary in 2014.\" width=\"1200\" height=\"798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ClarionAlleyMuralProject_3_1200-960x638.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Celebrating CAMP’s 22nd anniversary in 2014. \u003ccite>(Courtesy of Clarion Alley Mural Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clarion Alley has long been a stopping point on walking tours of the Mission and a frequent draw for locals and tourists alike. CAMP estimates over 200,000 people visit the corridor each year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of CAMP’s efforts — furthered by the new website — include educating the public and those who would seek to use the alley’s murals as backdrops for commercial gain, about the often hard-to-grasp fact that the murals are not “free for the taking” simply because they exist on the street. CAMP oversees the reproduction of its artists’ murals in films, books, on clothing and in commercial photographs through \u003ca href=\"http://clarionalleymuralproject.org/about/mural-faq-licensing-film-video-photography/\" target=\"_blank\" rel=\"noopener\">licensing agreements\u003c/a>, the fees going to both CAMP and the artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While CAMP’s new website demonstrates a long and colorful history, the project is nowhere near complete. A \u003ca href=\"http://clarionalleymuralproject.org/mural/new-mural-rigo-23/\" target=\"_blank\" rel=\"noopener\">Rigo 23 mural from 2012\u003c/a> captures the spirit of the project succinctly: “Building a better future is a full-life job.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Santa Cruz Art Show Redefines \"Open Studios\" by Putting Artists on Display",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>This summer, the \u003ca href=\"https://santacruzmah.org/\" target=\"_blank\" rel=\"noopener\">Santa Cruz Museum of Art & History\u003c/a> ventures into new territory — by putting the artists themselves on display. In so doing, the show \u003ca href=\"https://santacruzmah.org/2016/art-works/\" target=\"_blank\" rel=\"noopener\">Art Works\u003c/a> gives a whole new meaning to the concept of “open studios.”\u003c/p>\n\u003cp>The first thing that strikes you when you walk into the museum’s Solari Gallery is an open, wood-framed artist studio within the gallery, where \u003ca href=\"https://www.facebook.com/huamengy\" target=\"_blank\" rel=\"noopener\">Hua Meng Yu\u003c/a>, who prefers to go by her artist moniker “Miss Tanq,” is giving Bob Russo of Soquel a Yi Jing reading.\u003c/p>\n\u003cp>“Bob, I’d like you to think of an area of your life that you would like some more clarity on,” Miss Tanq says to Russo. Russo “asks the cards” to provide him with some sense of direction for his personal goals and focus. He has an eight-year-old daughter, he says, and Miss Tanq understands that to mean his home life is especially important to him right now.\u003c/p>\n\u003cp>Based on this interaction, the artist picks out one of her handmade masks, puts it on Russo, and snaps a photograph of him. Called “Grandmother,” it’s the face of an old Chinese woman ringed with faux white fur. The mask suits Russo perfectly.\u003c/p>\n\u003cfigure id=\"attachment_11679678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-800x600.jpg\" alt='Bob Russo of Soquel wears the \"Grandmother\" mask after his Yi Jing reading about the importance of family in his life.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Russo of Soquel wears the “Grandmother” mask after his Yi Jing reading revealed the importance of family in his life. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The mask comes to life only when somebody puts it on,” Miss Tanq says. “It is actually made to be embodied.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This entire encounter is not the kind of thing you expect to find at an art museum. And that’s the idea.\u003c/p>\n\u003cp>“I think people expect to find an institution dedicated to art objects,” says curator Wes Modes. “I think they expect to find things on the wall. We want to pull the walls off of that experience. So that you can look inside, see the artist behind that to see the art process that happens. And then step into that process and take part in making art.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/269065290″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>All of the artists in this exhibition have come up with different ways to provide audience members with deep insights into their process, using everything from Yi Jing to music.\u003c/p>\n\u003cp>\u003ca href=\"http://nanciamaka.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Nanci Amaka\u003c/a> is a conceptual artist born and raised in Nigeria, who makes print and textile sculptures in response to conversations about trauma and memory. There are several stations in Amaka’s open studio at the exhibition. For those people comfortable with the idea, the artist creates bright orange prints of their scars while they tell her the story behind the scars.\u003c/p>\n\u003cfigure id=\"attachment_11679601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679601\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-800x600.jpg\" alt=\"Nanci Amaka paints over Whitney Campbell's scar involving an ill advised sip from a glass milk bottle when he was two. She presses a piece of paper over it, and voilà- a print. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nanci Amaka paints over Whitney Campbell’s scar involving an accident with a glass milk bottle when he was two. She presses a piece of paper over it, and voilà — a print. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, other visitors to Amaka’s studio might prefer to sit in solitary fashion at a desk and write down stories about their scars. Then the artist tucks the texts into soft, fabric sculptures that she hangs up in the gallery.\u003c/p>\n\u003cp>Amaka explains she intends to change the way people think about the experiences that created the scars. “These things are about moments in our lives that were traumatic and owning them,” Amaka says.\u003c/p>\n\u003cfigure id=\"attachment_11679602\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-450x600.jpg\" alt='\"These things are about moments in our lives that were traumatic,\" says Nanci Amaka. By retelling the story, she says, people can reclaim the narrative. Instead of feeling like victims of their experience, they can \"own\" the scar.' width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“These things are about moments in our lives that were traumatic,” says artist Nanci Amaka. By retelling the story, she says, people can reclaim the narrative. Instead of feeling like victims of their experience, they can “own” the scar. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You might think scars are yucky. But Amaka says many people feel\u003cbr>\nproud of them. “They love them!” the artist says. 63-year-old Lucy Kemnitzer of Santa Cruz cetrainly feels that way about her scars. She’s gone to the hospital many times over the years, and sees each surgery scar as evidence of a victory over everything from childbirth to breast cancer.\u003c/p>\n\u003cp>“From the cesarean scar that saved me and my son up to the most recent one, which is a lumpectomy scar, all of the scars I got either saved my life or they’re enhancing my life,” Kemnitzer says, pointing to a map she drew of her body.\u003c/p>\n\u003cp>The exhibition is also constantly changing, as none of the artists in Art Works are there the whole time. You never know what you’ll be asked to do when you walk in. The only certain thing: it’s not enough to observe from a distance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Art Works continues through Sunday, Sep. 25. More information \u003cstrong>\u003ca href=\"https://santacruzmah.org/2016/art-works/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "You never know what you’ll be asked to do when you walk into 'Art Works' at the Santa Cruz Museum of Art & History. The only certain thing: it’s not enough to observe from a distance",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>This summer, the \u003ca href=\"https://santacruzmah.org/\" target=\"_blank\" rel=\"noopener\">Santa Cruz Museum of Art & History\u003c/a> ventures into new territory — by putting the artists themselves on display. In so doing, the show \u003ca href=\"https://santacruzmah.org/2016/art-works/\" target=\"_blank\" rel=\"noopener\">Art Works\u003c/a> gives a whole new meaning to the concept of “open studios.”\u003c/p>\n\u003cp>The first thing that strikes you when you walk into the museum’s Solari Gallery is an open, wood-framed artist studio within the gallery, where \u003ca href=\"https://www.facebook.com/huamengy\" target=\"_blank\" rel=\"noopener\">Hua Meng Yu\u003c/a>, who prefers to go by her artist moniker “Miss Tanq,” is giving Bob Russo of Soquel a Yi Jing reading.\u003c/p>\n\u003cp>“Bob, I’d like you to think of an area of your life that you would like some more clarity on,” Miss Tanq says to Russo. Russo “asks the cards” to provide him with some sense of direction for his personal goals and focus. He has an eight-year-old daughter, he says, and Miss Tanq understands that to mean his home life is especially important to him right now.\u003c/p>\n\u003cp>Based on this interaction, the artist picks out one of her handmade masks, puts it on Russo, and snaps a photograph of him. Called “Grandmother,” it’s the face of an old Chinese woman ringed with faux white fur. The mask suits Russo perfectly.\u003c/p>\n\u003cfigure id=\"attachment_11679678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-800x600.jpg\" alt='Bob Russo of Soquel wears the \"Grandmother\" mask after his Yi Jing reading about the importance of family in his life.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19810_IMG_1887-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Russo of Soquel wears the “Grandmother” mask after his Yi Jing reading revealed the importance of family in his life. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The mask comes to life only when somebody puts it on,” Miss Tanq says. “It is actually made to be embodied.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This entire encounter is not the kind of thing you expect to find at an art museum. And that’s the idea.\u003c/p>\n\u003cp>“I think people expect to find an institution dedicated to art objects,” says curator Wes Modes. “I think they expect to find things on the wall. We want to pull the walls off of that experience. So that you can look inside, see the artist behind that to see the art process that happens. And then step into that process and take part in making art.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/269065290″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/269065290″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>All of the artists in this exhibition have come up with different ways to provide audience members with deep insights into their process, using everything from Yi Jing to music.\u003c/p>\n\u003cp>\u003ca href=\"http://nanciamaka.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Nanci Amaka\u003c/a> is a conceptual artist born and raised in Nigeria, who makes print and textile sculptures in response to conversations about trauma and memory. There are several stations in Amaka’s open studio at the exhibition. For those people comfortable with the idea, the artist creates bright orange prints of their scars while they tell her the story behind the scars.\u003c/p>\n\u003cfigure id=\"attachment_11679601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679601\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-800x600.jpg\" alt=\"Nanci Amaka paints over Whitney Campbell's scar involving an ill advised sip from a glass milk bottle when he was two. She presses a piece of paper over it, and voilà- a print. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19809_IMG_1872-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nanci Amaka paints over Whitney Campbell’s scar involving an accident with a glass milk bottle when he was two. She presses a piece of paper over it, and voilà — a print. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, other visitors to Amaka’s studio might prefer to sit in solitary fashion at a desk and write down stories about their scars. Then the artist tucks the texts into soft, fabric sculptures that she hangs up in the gallery.\u003c/p>\n\u003cp>Amaka explains she intends to change the way people think about the experiences that created the scars. “These things are about moments in our lives that were traumatic and owning them,” Amaka says.\u003c/p>\n\u003cfigure id=\"attachment_11679602\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11679602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-450x600.jpg\" alt='\"These things are about moments in our lives that were traumatic,\" says Nanci Amaka. By retelling the story, she says, people can reclaim the narrative. Instead of feeling like victims of their experience, they can \"own\" the scar.' width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19808_IMG_1870-qut-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“These things are about moments in our lives that were traumatic,” says artist Nanci Amaka. By retelling the story, she says, people can reclaim the narrative. Instead of feeling like victims of their experience, they can “own” the scar. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You might think scars are yucky. But Amaka says many people feel\u003cbr>\nproud of them. “They love them!” the artist says. 63-year-old Lucy Kemnitzer of Santa Cruz cetrainly feels that way about her scars. She’s gone to the hospital many times over the years, and sees each surgery scar as evidence of a victory over everything from childbirth to breast cancer.\u003c/p>\n\u003cp>“From the cesarean scar that saved me and my son up to the most recent one, which is a lumpectomy scar, all of the scars I got either saved my life or they’re enhancing my life,” Kemnitzer says, pointing to a map she drew of her body.\u003c/p>\n\u003cp>The exhibition is also constantly changing, as none of the artists in Art Works are there the whole time. You never know what you’ll be asked to do when you walk in. The only certain thing: it’s not enough to observe from a distance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Art Works continues through Sunday, Sep. 25. More information \u003cstrong>\u003ca href=\"https://santacruzmah.org/2016/art-works/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Woman Pleads Guilty to Defacing Rocks at 7 National Parks",
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"content": "\u003cp>A San Diego woman who painted and drew on natural rock formations at national parks across the West and posted her work on social media pleaded guilty Monday to defacing government property.\u003c/p>\n\u003cp>Casey Nocket, 23, pleaded guilty in federal court in Fresno to seven misdemeanors for her 2014 painting spree at seven national parks, including Yosemite in California and Zion in Utah.\u003c/p>\n\u003cp>She also admitted to defacing rocks at Crater Lake National Park in Oregon and Rocky Mountain National Park in Colorado.\u003c/p>\n\u003cfigure id=\"attachment_10988931\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10988931\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/NocketDefaces-800x890.jpg\" alt=\"A screenshot from one of Casey Nocket's social media accounts shows her defacing a rock face in Utah's Canyonlands National Park.\" width=\"800\" height=\"890\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-800x890.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-400x445.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-1180x1312.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-960x1068.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot from one of Casey Nocket's social media accounts shows her defacing a rock face in Utah's Canyonlands National Park. \u003ccite>(Screenshot via Modern Hiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nocket was sentenced to two years' probation and 200 hours of community service. Judge Sheila K. Oberto also banned Nocket from lands administered by the National Park Service, the U.S. Forest Service, the Bureau of Land Management and the Army Corps of Engineers during the period of probation.\u003c/p>\n\u003cp>\"The defendant's defacement of multiple rock formations showed a lack of respect for the law and our shared national treasures,\" acting U.S. Attorney Phillip Talbert said in a statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nocket posted photos of her various defacements under the Instagram handle \"creepytings,\" which she also used to sign much of her work.\u003c/p>\n\u003cp>News of Nocket’s vandalism in September and October of 2014 quickly appeared on two hiking blogs, \u003ca href=\"http://www.modernhiker.com/2014/10/21/instagram-artist-defaces-national-parks/\" target=\"_blank\">Modern Hiker\u003c/a> and \u003ca href=\"http://calipidder.com/wp/2014/10/tracking-serial-vandal-national-parks/\" target=\"_blank\">Calipidder\u003c/a>, after Nocket’s Instagram feed was posted on \u003ca href=\"http://www.reddit.com/r/Yosemite/comments/2jvbst/graffiti_artist_with_no_regard_for_her_actions/\" target=\"_blank\">Reddit\u003c/a>.\u003c/p>\n\u003cp>That led to broad outrage on social media and \u003ca href=\"http://ww2.kqed.org/arts/2014/10/23/berkeley-resident-petitions-authorities-to-punish-park-vandal/\" target=\"_blank\">at least one petition\u003c/a> on Whitehouse.gov requesting that authorities pursue charges and the maximum punishment allowed.\u003c/p>\n\u003cp>The vandalism caused serious cleanup problems. The sandblasting and chemical stripping used to remove paint can cause even more damage to irreplaceable natural features.\u003c/p>\n\u003cfigure id=\"attachment_10988995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/creepytingsface-800x524.jpg\" alt=\"One of Casey Nocket's paintings in Yosemite National Park.\" width=\"800\" height=\"524\" class=\"size-medium wp-image-10988995\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-800x524.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-400x262.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-1180x773.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Casey Nocket's paintings in Yosemite National Park. \u003ccite>(Screenshot via Modern Hiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At two national parks, Crater Lake and Death Valley in California, cleanup has yet to be completed nearly two years later. A later hearing will determine how much restitution Nocket must pay to help with the cleanup.\u003c/p>\n\u003cp>A press release from the U.S. Attorney's Office for the Eastern District of California outlined Nocket's damage at the seven parks:\u003c/p>\n\u003cblockquote>\u003cp>\n· Sept. 23, 2014, Death Valley National Park in the Eastern District of California at the summit of Telescope Peak.\u003cbr>\n· Sept. 12, 2014, Rocky Mountain National Park in the District of Colorado\u003cbr>\n· Sept. 13, 2014, Colorado National Monument in the District of Colorado on the Monument Canyon Trail.\u003cbr>\n· Sept. 15, 2014, Canyonlands National Park in the District of Utah on the Neck Spring Trail.\u003cbr>\n· Sept. 17, 2014, Zion National Park in the District of Utah.\u003cbr>\n· Oct. 2, 2014, Yosemite National Park in the Eastern District of California at the beginning of the John Muir Trail.\u003cbr>\n· Oct. 7, 2014, Crater Lake National Park in the District of Oregon.\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post includes reporting from The Associated Press.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A San Diego woman who painted and drew on natural rock formations at national parks across the West and posted her work on social media pleaded guilty Monday to defacing government property.\u003c/p>\n\u003cp>Casey Nocket, 23, pleaded guilty in federal court in Fresno to seven misdemeanors for her 2014 painting spree at seven national parks, including Yosemite in California and Zion in Utah.\u003c/p>\n\u003cp>She also admitted to defacing rocks at Crater Lake National Park in Oregon and Rocky Mountain National Park in Colorado.\u003c/p>\n\u003cfigure id=\"attachment_10988931\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10988931\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/NocketDefaces-800x890.jpg\" alt=\"A screenshot from one of Casey Nocket's social media accounts shows her defacing a rock face in Utah's Canyonlands National Park.\" width=\"800\" height=\"890\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-800x890.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-400x445.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-1180x1312.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-960x1068.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot from one of Casey Nocket's social media accounts shows her defacing a rock face in Utah's Canyonlands National Park. \u003ccite>(Screenshot via Modern Hiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nocket was sentenced to two years' probation and 200 hours of community service. Judge Sheila K. Oberto also banned Nocket from lands administered by the National Park Service, the U.S. Forest Service, the Bureau of Land Management and the Army Corps of Engineers during the period of probation.\u003c/p>\n\u003cp>\"The defendant's defacement of multiple rock formations showed a lack of respect for the law and our shared national treasures,\" acting U.S. Attorney Phillip Talbert said in a statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nocket posted photos of her various defacements under the Instagram handle \"creepytings,\" which she also used to sign much of her work.\u003c/p>\n\u003cp>News of Nocket’s vandalism in September and October of 2014 quickly appeared on two hiking blogs, \u003ca href=\"http://www.modernhiker.com/2014/10/21/instagram-artist-defaces-national-parks/\" target=\"_blank\">Modern Hiker\u003c/a> and \u003ca href=\"http://calipidder.com/wp/2014/10/tracking-serial-vandal-national-parks/\" target=\"_blank\">Calipidder\u003c/a>, after Nocket’s Instagram feed was posted on \u003ca href=\"http://www.reddit.com/r/Yosemite/comments/2jvbst/graffiti_artist_with_no_regard_for_her_actions/\" target=\"_blank\">Reddit\u003c/a>.\u003c/p>\n\u003cp>That led to broad outrage on social media and \u003ca href=\"http://ww2.kqed.org/arts/2014/10/23/berkeley-resident-petitions-authorities-to-punish-park-vandal/\" target=\"_blank\">at least one petition\u003c/a> on Whitehouse.gov requesting that authorities pursue charges and the maximum punishment allowed.\u003c/p>\n\u003cp>The vandalism caused serious cleanup problems. The sandblasting and chemical stripping used to remove paint can cause even more damage to irreplaceable natural features.\u003c/p>\n\u003cfigure id=\"attachment_10988995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/creepytingsface-800x524.jpg\" alt=\"One of Casey Nocket's paintings in Yosemite National Park.\" width=\"800\" height=\"524\" class=\"size-medium wp-image-10988995\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-800x524.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-400x262.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-1180x773.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Casey Nocket's paintings in Yosemite National Park. \u003ccite>(Screenshot via Modern Hiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At two national parks, Crater Lake and Death Valley in California, cleanup has yet to be completed nearly two years later. A later hearing will determine how much restitution Nocket must pay to help with the cleanup.\u003c/p>\n\u003cp>A press release from the U.S. Attorney's Office for the Eastern District of California outlined Nocket's damage at the seven parks:\u003c/p>\n\u003cblockquote>\u003cp>\n· Sept. 23, 2014, Death Valley National Park in the Eastern District of California at the summit of Telescope Peak.\u003cbr>\n· Sept. 12, 2014, Rocky Mountain National Park in the District of Colorado\u003cbr>\n· Sept. 13, 2014, Colorado National Monument in the District of Colorado on the Monument Canyon Trail.\u003cbr>\n· Sept. 15, 2014, Canyonlands National Park in the District of Utah on the Neck Spring Trail.\u003cbr>\n· Sept. 17, 2014, Zion National Park in the District of Utah.\u003cbr>\n· Oct. 2, 2014, Yosemite National Park in the Eastern District of California at the beginning of the John Muir Trail.\u003cbr>\n· Oct. 7, 2014, Crater Lake National Park in the District of Oregon.\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post includes reporting from The Associated Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are two statements that you will probably never hear in regards to Grateful Dead guitarist Bob Weir:\u003c/p>\n\u003cp>1. He doesn’t know how to play guitar, and\u003cbr>\n2. He’s afraid to speak his mind.\u003c/p>\n\u003cp>Weir proved this out this weekend when he and Dead and Company, the newest version of the Grateful Dead that features three original Dead members and John Mayer, headlined the main stage at Bonnaroo, the long-running jam band festival held in Manchester, Tenn.\u003c/p>\n\u003cp>At the end of their two-part set laden with solos and good vibes, and bereft of songs with gun references, the 68-year-old Bay Area legend ripped into two politicians who had recently made offensive comments about the LGBTQ community. The concert was held the day after a massacre in Orlando, Florida, where a man opened fire in a gay night club, \u003ca href=\"http://ww2.kqed.org/news/2016/06/13/orlando-sees-worst-mass-shooting-on-u-s-soil-what-we-know-monday\" target=\"_blank\" rel=\"noopener\">killing 49 patrons and injuring 53 others\u003c/a>. \u003c/p>\n\u003cp>https://www.facebook.com/will.lundberg/videos/10153755908898403/\u003c/p>\n\u003cblockquote>\u003cp>“If you got gay friends, tell them “Sorry about what happened today.” You know, it’s funny — the Lt. Governor of Texas and a distinguished representative in the house from Georgia… Well, that guy last week was reading quotes from the bible saying how gay people deserved to die. And today, after the incident down in Florida, the Lt. Governor tweeted that, well, “They’re gonna reap what they sow.” I tell you what.\u003c/p>\n\u003cp>I want to ask you a question: Is there a difference between that mindset and the mindset of the folks in the Taliban or ISIS? The hatred and intolerance is the same. They may pull it from different books, but it’s the same f**king thing.\u003c/p>\n\u003cp>Register and vote. Get those a**holes out of there.\u003c/p>\u003c/blockquote>\n\u003cp>Earlier same night, Weir accepted the first ever Les Paul Spirit award, which is given to musicians who “exemplify the spirit of Paul through innovation, engineering, technology and music.” Weir called the iconic guitar maker Paul his hero when he accepted the award. The artist continued to show his spirit by giving remarks that were similar to the statement he’d make later that night, but \u003ca href=\"http://www.billboard.com/articles/news/7401308/grateful-deads-bob-weir-believers-in-homophobia-and-isis-share-the-same-hatred\" target=\"_blank\" rel=\"noopener\">without all the expletives\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those who might be shocked by Weir’s salty words, you should know that he’s usually \u003ca href=\"https://www.youtube.com/watch?v=toNbwulQt3g\" target=\"_blank\" rel=\"noopener\">much more blunt when he’s mad\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are two statements that you will probably never hear in regards to Grateful Dead guitarist Bob Weir:\u003c/p>\n\u003cp>1. He doesn’t know how to play guitar, and\u003cbr>\n2. He’s afraid to speak his mind.\u003c/p>\n\u003cp>Weir proved this out this weekend when he and Dead and Company, the newest version of the Grateful Dead that features three original Dead members and John Mayer, headlined the main stage at Bonnaroo, the long-running jam band festival held in Manchester, Tenn.\u003c/p>\n\u003cp>At the end of their two-part set laden with solos and good vibes, and bereft of songs with gun references, the 68-year-old Bay Area legend ripped into two politicians who had recently made offensive comments about the LGBTQ community. The concert was held the day after a massacre in Orlando, Florida, where a man opened fire in a gay night club, \u003ca href=\"http://ww2.kqed.org/news/2016/06/13/orlando-sees-worst-mass-shooting-on-u-s-soil-what-we-know-monday\" target=\"_blank\" rel=\"noopener\">killing 49 patrons and injuring 53 others\u003c/a>. \u003c/p>\n\u003cp>https://www.facebook.com/will.lundberg/videos/10153755908898403/\u003c/p>\n\u003cblockquote>\u003cp>“If you got gay friends, tell them “Sorry about what happened today.” You know, it’s funny — the Lt. Governor of Texas and a distinguished representative in the house from Georgia… Well, that guy last week was reading quotes from the bible saying how gay people deserved to die. And today, after the incident down in Florida, the Lt. Governor tweeted that, well, “They’re gonna reap what they sow.” I tell you what.\u003c/p>\n\u003cp>I want to ask you a question: Is there a difference between that mindset and the mindset of the folks in the Taliban or ISIS? The hatred and intolerance is the same. They may pull it from different books, but it’s the same f**king thing.\u003c/p>\n\u003cp>Register and vote. Get those a**holes out of there.\u003c/p>\u003c/blockquote>\n\u003cp>Earlier same night, Weir accepted the first ever Les Paul Spirit award, which is given to musicians who “exemplify the spirit of Paul through innovation, engineering, technology and music.” Weir called the iconic guitar maker Paul his hero when he accepted the award. The artist continued to show his spirit by giving remarks that were similar to the statement he’d make later that night, but \u003ca href=\"http://www.billboard.com/articles/news/7401308/grateful-deads-bob-weir-believers-in-homophobia-and-isis-share-the-same-hatred\" target=\"_blank\" rel=\"noopener\">without all the expletives\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those who might be shocked by Weir’s salty words, you should know that he’s usually \u003ca href=\"https://www.youtube.com/watch?v=toNbwulQt3g\" target=\"_blank\" rel=\"noopener\">much more blunt when he’s mad\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>My wife’s the reason anything gets done\u003c/em>\u003c/p>\n\u003cp>\u003cem>She nudges me towards promise, by degrees\u003c/em>\u003c/p>\n\u003cp>\u003cem>She is the perfect symphony of one\u003c/em>\u003c/p>\n\u003cp>\u003cem>Our son is her most beautiful reprise\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003cem>We chase the melodies that seem to find us \u003c/em>\u003c/p>\n\u003cp>\u003cem>Until they’re finished songs, and start to play\u003c/em>\u003c/p>\n\u003cp>\u003cem>When senseless acts of tragedy remind us\u003c/em>\u003c/p>\n\u003cp>\u003cem>That nothing here is promised, not one day\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>This show is proof that history remembers\u003c/em>\u003c/p>\n\u003cp>\u003cem>We live through times when hate and fear seem stronger\u003c/em>\u003c/p>\n\u003cp>\u003cem>We rise and fall and light from dying embers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Remembrances that hope and love last longer\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>And love is love is love is love is love is love is love is love\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cannot be killed or swept aside\u003c/em>\u003c/p>\n\u003cp>\u003cem>I sing Vanessa’s symphony, Eliza tells her story\u003c/em>\u003c/p>\n\u003cp>\u003cem>Now fill the world with music, love and pride\u003c/em>\u003c/p>\n\u003cp>Thank you so much for this.\u003c/p>\n\u003cp>— Lin-Manuel Miranda, accepting the best score Tony for \u003cem>Hamilton\u003c/em> last night.\u003c/p>\n\u003cp>(For the record, if you’re scoring at home, that “And love is love is love … ” line is when I, and the people with whom I was watching the broadcast, lost it completely.)\u003c/p>\n\u003cp>Yesterday was a day of horror and grief and mourning, and you’d think the last thing on the nation’s mind on such a terrible day would be “Let’s tune into CBS to see people in suits and nice dresses congratulate one another for three hours.”\u003c/p>\n\u003cp>You’d think. But the Tonys are different. (\u003ca href=\"https://ww2.kqed.org/arts/2016/06/13/hamilton-wins-11-tonys-but-fails-to-break-record/\" target=\"_blank\" rel=\"noopener\">Here’s the full rundown of last night’s winners\u003c/a>.)\u003c/p>\n\u003cp>The Oscars are about individual achievement, the exaltation of self, the sanctimonious deification of “dreams spun of shadow and light.” The Emmys are about people thanking their managers and network executives. The Grammys are about glamour, or at least glitz. The Golden Globes are about seeing which celebrities can hold their booze.\u003c/p>\n\u003cp>But the Tonys are, and have always been, about community: a small, fiercely determined and hopelessly devoted cohort of show people and those who love them, a safe haven for anyone who has ever felt like an outsider.\u003c/p>\n\u003cp>Or, as Tonys host James Corden put it, acknowledging the mass shooting in Orlando with a direct address to the camera at the top of the broadcast: “Your tragedy is our tragedy. Theater is a place where every race, creed, sexuality and gender is equal, is embraced, and is loved. Hate will never win. Together we have to make sure of that. Tonight’s show stands as a symbol and a celebration of that principle.”\u003c/p>\n\u003cp>It was awkward but sincere. In that sense it was very like every theater kid who has ever lip-synced to \u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It be Loverly” in his darkened bedroom. Said kid was the ostensible subject of Corden’s “That Could Be Me” opening number, which sent him caroming through a gleeful mashup of Broadway hits, from \u003cem>Les Miserables\u003c/em> to \u003cem>Phantom\u003c/em> to \u003cem>Lion King\u003c/em> to \u003cem>Grease\u003c/em> to \u003cem>Sweeney Todd\u003c/em> to \u003cem>Jesus Christ Superstar\u003c/em> to \u003cem>Sound of Music\u003c/em> to \u003cem>Music Man\u003c/em> to … you get the idea.\u003c/p>\n\u003cp>“To the theater kids from anyplace with stardust in their eyes,” Corden sang, joined onstage by the actor and actress nominees for best performance in a musical, “of every color, class and race and face and shape and size. To the boys and girls and transgenders, too. To every Broadway would-be. Why wonder if this could be you? \u003cem>It absolutely could be.\u003c/em>”\u003c/p>\n\u003cp>What followed was what most predicted: a \u003cem>Hamilton\u003c/em> blowout. The show/cultural phenomenon took home 11 of the 16 Tonys for which it was nominated, including best musical. It didn’t break the 12-Tony record set by \u003cem>The Producers\u003c/em> in 2001, but few expected it to, given that several members of its cast were up for the same awards. Writer/star Lin-Manuel Miranda won for both score and book, but lost best actor in a musical to castmate Leslie Odom Jr.\u003c/p>\n\u003cp>As it always does, the Tonys broadcast served as a three-hour recruitment ad for a life of jazz hands and dance belts. There were good jokes (Corden’s shout-out to the \u003cem>Law and Order\u003c/em> franchise, which for years has supplied the New York theater community with bit parts and steady paychecks) and earnest singing (Carmen Cusack sang the spirited, stripped-down bluegrass opening number from the Steve Martin/Edie Brickell show \u003cem>Bright Star\u003c/em>). There was the requisite color and splash (a number from the Gloria Estefan jukebox musical \u003cem>On Your Feet\u003c/em> featured Estefan herself), and there was good-natured humor (Josh Groban introduced a number from the revival of \u003cem>Fiddler on the Roof\u003c/em> by sheepishly acknowledging a grainy video of himself starring as Tevye in a high school production of the show).\u003c/p>\n\u003cp>Less successful were segments featuring the casts from various shows stepping outside the Beacon Theater to perform before a waiting crowd. Done in homage to the Hamilton cast’s beloved #Ham4Ham practice of performing for those waiting for the ticket lottery, the broadcast’s emulation seemed merely dutiful, as the performers delivered only a single verse from Broadway classics before sending viewers to commercials.\u003c/p>\n\u003cp>As host, Corden was genial and charming. If he lacked the sardonic edge that Neil Patrick Harris brought to the job in the past, it wasn’t missed. No, what was needed yesterday was something more full-throated and uncomplicated. Something simpler and more joyful.\u003c/p>\n\u003cp>And that something was brought, not by Corden, but by Cynthia Erivo, who stars as Celie in an acclaimed revival of \u003cem>The Color Purple\u003c/em>. She won best actress in a musical, and blew the roof off the Beacon Theatre with a performance that concluded with her standing center stage, belting a song of grace and gratitude and, yes, pride, on a day when its message desperately needed to be heard by an audience filled with grieving men and women and Broadway would-bes:\u003c/p>\n\u003cp>\u003cem>But most of all\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m thankful for\u003c/em>\u003c/p>\n\u003cp>\u003cem>Loving who I really am\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003cem>Yes I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>And I’m here\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+A+Dark+Day%2C+The+Tonys+Double+Down+On+Joy+%E2%80%94+And+Pride&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003cem>We chase the melodies that seem to find us \u003c/em>\u003c/p>\n\u003cp>\u003cem>Until they’re finished songs, and start to play\u003c/em>\u003c/p>\n\u003cp>\u003cem>When senseless acts of tragedy remind us\u003c/em>\u003c/p>\n\u003cp>\u003cem>That nothing here is promised, not one day\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>This show is proof that history remembers\u003c/em>\u003c/p>\n\u003cp>\u003cem>We live through times when hate and fear seem stronger\u003c/em>\u003c/p>\n\u003cp>\u003cem>We rise and fall and light from dying embers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Remembrances that hope and love last longer\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>And love is love is love is love is love is love is love is love\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cannot be killed or swept aside\u003c/em>\u003c/p>\n\u003cp>\u003cem>I sing Vanessa’s symphony, Eliza tells her story\u003c/em>\u003c/p>\n\u003cp>\u003cem>Now fill the world with music, love and pride\u003c/em>\u003c/p>\n\u003cp>Thank you so much for this.\u003c/p>\n\u003cp>— Lin-Manuel Miranda, accepting the best score Tony for \u003cem>Hamilton\u003c/em> last night.\u003c/p>\n\u003cp>(For the record, if you’re scoring at home, that “And love is love is love … ” line is when I, and the people with whom I was watching the broadcast, lost it completely.)\u003c/p>\n\u003cp>Yesterday was a day of horror and grief and mourning, and you’d think the last thing on the nation’s mind on such a terrible day would be “Let’s tune into CBS to see people in suits and nice dresses congratulate one another for three hours.”\u003c/p>\n\u003cp>You’d think. But the Tonys are different. (\u003ca href=\"https://ww2.kqed.org/arts/2016/06/13/hamilton-wins-11-tonys-but-fails-to-break-record/\" target=\"_blank\" rel=\"noopener\">Here’s the full rundown of last night’s winners\u003c/a>.)\u003c/p>\n\u003cp>The Oscars are about individual achievement, the exaltation of self, the sanctimonious deification of “dreams spun of shadow and light.” The Emmys are about people thanking their managers and network executives. The Grammys are about glamour, or at least glitz. The Golden Globes are about seeing which celebrities can hold their booze.\u003c/p>\n\u003cp>But the Tonys are, and have always been, about community: a small, fiercely determined and hopelessly devoted cohort of show people and those who love them, a safe haven for anyone who has ever felt like an outsider.\u003c/p>\n\u003cp>Or, as Tonys host James Corden put it, acknowledging the mass shooting in Orlando with a direct address to the camera at the top of the broadcast: “Your tragedy is our tragedy. Theater is a place where every race, creed, sexuality and gender is equal, is embraced, and is loved. Hate will never win. Together we have to make sure of that. Tonight’s show stands as a symbol and a celebration of that principle.”\u003c/p>\n\u003cp>It was awkward but sincere. In that sense it was very like every theater kid who has ever lip-synced to \u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It be Loverly” in his darkened bedroom. Said kid was the ostensible subject of Corden’s “That Could Be Me” opening number, which sent him caroming through a gleeful mashup of Broadway hits, from \u003cem>Les Miserables\u003c/em> to \u003cem>Phantom\u003c/em> to \u003cem>Lion King\u003c/em> to \u003cem>Grease\u003c/em> to \u003cem>Sweeney Todd\u003c/em> to \u003cem>Jesus Christ Superstar\u003c/em> to \u003cem>Sound of Music\u003c/em> to \u003cem>Music Man\u003c/em> to … you get the idea.\u003c/p>\n\u003cp>“To the theater kids from anyplace with stardust in their eyes,” Corden sang, joined onstage by the actor and actress nominees for best performance in a musical, “of every color, class and race and face and shape and size. To the boys and girls and transgenders, too. To every Broadway would-be. Why wonder if this could be you? \u003cem>It absolutely could be.\u003c/em>”\u003c/p>\n\u003cp>What followed was what most predicted: a \u003cem>Hamilton\u003c/em> blowout. The show/cultural phenomenon took home 11 of the 16 Tonys for which it was nominated, including best musical. It didn’t break the 12-Tony record set by \u003cem>The Producers\u003c/em> in 2001, but few expected it to, given that several members of its cast were up for the same awards. Writer/star Lin-Manuel Miranda won for both score and book, but lost best actor in a musical to castmate Leslie Odom Jr.\u003c/p>\n\u003cp>As it always does, the Tonys broadcast served as a three-hour recruitment ad for a life of jazz hands and dance belts. There were good jokes (Corden’s shout-out to the \u003cem>Law and Order\u003c/em> franchise, which for years has supplied the New York theater community with bit parts and steady paychecks) and earnest singing (Carmen Cusack sang the spirited, stripped-down bluegrass opening number from the Steve Martin/Edie Brickell show \u003cem>Bright Star\u003c/em>). There was the requisite color and splash (a number from the Gloria Estefan jukebox musical \u003cem>On Your Feet\u003c/em> featured Estefan herself), and there was good-natured humor (Josh Groban introduced a number from the revival of \u003cem>Fiddler on the Roof\u003c/em> by sheepishly acknowledging a grainy video of himself starring as Tevye in a high school production of the show).\u003c/p>\n\u003cp>Less successful were segments featuring the casts from various shows stepping outside the Beacon Theater to perform before a waiting crowd. Done in homage to the Hamilton cast’s beloved #Ham4Ham practice of performing for those waiting for the ticket lottery, the broadcast’s emulation seemed merely dutiful, as the performers delivered only a single verse from Broadway classics before sending viewers to commercials.\u003c/p>\n\u003cp>As host, Corden was genial and charming. If he lacked the sardonic edge that Neil Patrick Harris brought to the job in the past, it wasn’t missed. No, what was needed yesterday was something more full-throated and uncomplicated. Something simpler and more joyful.\u003c/p>\n\u003cp>And that something was brought, not by Corden, but by Cynthia Erivo, who stars as Celie in an acclaimed revival of \u003cem>The Color Purple\u003c/em>. She won best actress in a musical, and blew the roof off the Beacon Theatre with a performance that concluded with her standing center stage, belting a song of grace and gratitude and, yes, pride, on a day when its message desperately needed to be heard by an audience filled with grieving men and women and Broadway would-bes:\u003c/p>\n\u003cp>\u003cem>But most of all\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m thankful for\u003c/em>\u003c/p>\n\u003cp>\u003cem>Loving who I really am\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003cem>Yes I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>And I’m here\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+A+Dark+Day%2C+The+Tonys+Double+Down+On+Joy+%E2%80%94+And+Pride&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "hamilton-wins-11-tonys-but-fails-to-break-record",
"title": "'Hamilton' Wins 11 Tonys but Fails to Break Record",
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"headTitle": "‘Hamilton’ Wins 11 Tonys but Fails to Break Record | KQED",
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"content": "\u003cp>\u003cem>Hamilton\u003c/em>, the hip-hop stage biography of Alexander Hamilton, won the 2016 Tony Award for best new musical, capping an emotional night in which many in the Broadway community rallied to embrace the LGBT community after a shooting at a gay Florida nightclub.\u003c/p>\n\u003cp>Lin-Manuel Miranda’s musical biography about the first U.S. treasury secretary won 11 Tonys, just short of breaking the 12-Tony record held by \u003cem>The Producers\u003c/em>.\u003c/p>\n\u003cp>Jeffrey Seller, producer of \u003cem>Hamilton\u003c/em>, quoted the show’s lyrics when accepting the best musical crown. “Look around, look around. How lucky we are to be alive right now,” he said.\u003c/p>\n\u003cp>Broadway’s boast of being more diverse than the Oscars was proved, with black actors winning four awards in the acting categories — a history-making sweep of the musical categories — and whites winning the remaining four for plays.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> went into the night with 16 nominations and, in addition to taking the musical award, won best score, best book, direction, orchestration, choreography and best featured actor and actress statuettes for Renee Elise Goldsberry and Daveed Diggs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Watch Oakland’s own Daveed Diggs discuss winning his first Tony award:\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_BMjmo3QUaw\u003c/p>\n\u003cp>Leslie Odom Jr., who plays Aaron Burr, won best actor in a musical and cheered Miranda for “a new vision of what’s possible.” He also thanked his wife, actress Nicolette Robinson and his parents.\u003c/p>\n\u003cp>The show earlier won awards for costume and lighting but lost scenic design to \u003cem>She Loves Me\u003c/em>, meaning \u003cem>Hamilton\u003c/em> couldn’t break the record haul by \u003cem>The Producers\u003c/em>. Still, few shows get introduced by a sitting president, as Barack and Michelle Obama did for the performance by the show’s cast.\u003c/p>\n\u003cp>The awards show unspooled with a heavy heart a night after a gunman killed 50 people at a gay Florida nightclub, prompting a Broadway tribute to the victims at the top of the show and a smattering of references to tolerance throughout it.\u003c/p>\n\u003cp>Host James Corden dedicated the night to celebrating the diversity of Broadway. “Hate will never win. Together we have to make sure of that. Tonight’s show stands as a symbol and a celebration of that principle,” he said.\u003c/p>\n\u003cp>Barbra Streisand returned to the Tony stage for the first time in 46 years and acknowledged the killings. “Tonight our joy is tinged with sorrow but we’re here to celebrate Broadway and the beauty that artistry can bring into this world.” Art, she said, can “at times like these console us.”\u003c/p>\n\u003cp>But for much of the telecast, the mood was light and typical of an awards show.\u003c/p>\n\u003cp>Miranda, the star and creator of \u003cem>Hamilton\u003c/em>, won for best score and book, and during one of his trips to the stage, he read from a sonnet, referencing tragedy and urging “love and love and love….”\u003c/p>\n\u003cp>Thomas Kail won the Tony for directing \u003cem>Hamilton\u003c/em>. He thanked Miranda, a frequent collaborator, and celebrated the diversity of Broadway this season. “Let’s continue to tell stories,” he said.\u003c/p>\n\u003cp>British actress Cynthia Erivo won the best actress award for her Broadway debut in “The Color Purple.” She thanked her cast for “making me a stronger woman on that stage.” Her show, which failed to beat “Jersey Boys” for the best musical Tony Award in 2006, won the best musical revival award in 2016.\u003c/p>\n\u003cp>\u003cem>The Humans\u003c/em>, about a fractious family’s get-together,” was the second most decorated show with four awards, including best new play. Playwright Stephen Karam dedicated his award to all the struggling writers. “Keep the faith,” he said.\u003c/p>\n\u003cp>The play also earned wins to two mainstays of the New York stage — Jayne Houdyshell and her stage husband, Reed Birney. Both won for featured roles.\u003c/p>\n\u003cp>Not all shows had reason to smile. \u003cem>Shuffle Along\u003c/em>, the musical that explores a groundbreaking 95-year-old show, failed to win a single award, although it entered the night with 10 nominations. \u003cem>Eclipsed\u003c/em> and \u003cem>She Loves Me\u003c/em> each won only one statuette; \u003cem>Waitress\u003c/em> went home empty-handed.\u003c/p>\n\u003cp>In response to the shooting Sunday that left at least 50 people dead in a crowded nightclub in Orlando, Florida, “Hamilton” dropped its use of muskets in its performance. Many stars also wore a silver ribbon to show solidarity.\u003c/p>\n\u003cp>The shooting was close to home for Christopher Fitzgerald, who was nominated for his role in \u003cem>Waitress\u003c/em> and went to school in Orlando. “I’m heartbroken. I think everybody is feeling it, so we are at least all coming together to celebrate and not live in fear,” he said on the carpet.\u003c/p>\n\u003cp>Jessica Lange won her first Tony for playing a drug-addled mother in the revival of the monumental \u003cem>Long Day’s Journey Into Night\u003c/em>. The two-time Academy Award winner said: “This is a dream come true and it fills me with such happiness, even on such a sad day as this.”\u003c/p>\n\u003cp>Frank Langella won his fourth Tony for playing a man who has begun his slide into dementia in \u003cem>The Father\u003c/em>. He almost teared up when he mentioned his brother’s struggle with dementia. He also had a message for the people of Orlando: “We will be with you every step of the way.”\u003c/p>\n\u003cp>Dutch visionary Ivo Van Hove won his first Tony for directing an imaginative revival of Arthur Miller’s \u003cem>A View from the Bridge\u003c/em>. Under his helm, the barefoot cast warily circled one another under bright lights in a set that resembled a boxing ring. The show was also named best play revival.\u003c/p>\n\u003cp>The show opened with the cast of \u003cem>Hamilton\u003c/em> performing their opening number with the lyrics altered to have them all wondering why Corden — “chatting with Hollywood phonies” — had earned the honor of hosting the show.\u003c/p>\n\u003cp>The \u003cem>The Late Late Show\u003c/em> host had some quips for the theater-loving audience: “This is like the Super Bowl for people who don’t know what the Super Bowl is,” he said at one point. He later flirted with Oprah Winfrey.\u003c/p>\n\u003cp>Donald Trump was a frequent target. Nathan Lane made a crack about Trump University and Emilio Estefan insisted that his all-Latin cast for “On Your Feet!” were all in the U.S. legally. Corden at one point suggested there were so many diverse performers on the show that the Republican candidate would want to put a wall around the theater. There was also a joke about Trump starring in “The Book of Moron.” To be fair, Glenn Close mocked Hillary Clinton in the fictional show “A Clinton Line.”\u003c/p>\n\u003cp>“Hamilton” and the 38 new productions this season helped Broadway’s attendance figures hit a record high, up 1.6 percent to 13.3 million ticket buyers. The season also was rich in diversity among actors: Fourteen of the 40 Tony nominees for acting in plays and musicals — or 35 percent — were actors of color.\u003c/p>\n\u003cp>The best musical Tony caps a stunning year for \u003cem>Hamilton\u003c/em> that includes Miranda winning the 2016 Pulitzer Prize for drama, a Grammy, the Edward M. Kennedy Prize for Drama Inspired by American History and a MacArthur Foundation “genius” grant.\u003c/p>\n\u003cp>Tony producers will hope its presence on the telecast will stem a three-year slide in viewership. Last year’s telecast — hosted by Alan Cumming and Kristin Chenoweth — was watched by a mere 6.35 million viewers. In 2014, it reached 7.02 million and captured 7.24 million in 2013.\u003c/p>\n\u003cp>\u003ci>Here’s the list of nominees, with the winners highlighted:\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Best Musical\u003c/strong>\u003cbr>\n\u003cem>Bright Star\u003cbr>\n\u003cstrong>Hamilton\u003c/strong>\u003cbr>\nSchool of Rock\u003cbr>\nShuffle Along\u003cbr>\nWaitress\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Play\u003c/strong>\u003cbr>\n\u003cem>Eclipsed\u003cbr>\nThe Father\u003cbr>\n\u003cstrong>The Humans\u003c/strong>\u003cbr>\nKing Charles III\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actress in a Musical\u003c/strong>\u003cbr>\nLaura Benanti, \u003cem>She Loves Me\u003c/em>\u003cbr>\nCarmen Cusack, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Cynthia Erivo, \u003cem>The Color Purple\u003c/em>\u003c/strong>\u003cbr>\nJessie Mueller, \u003cem>Waitress\u003c/em>\u003cbr>\nPhillipa Soo, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actor in a Musical\u003c/strong>\u003cbr>\nAlex Brightman, \u003cem>School of Rock\u003c/em>\u003cbr>\nDanny Burnstein, \u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\nZachary Levi, \u003cem>She Loves Me\u003c/em>\u003cbr>\nLin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003cbr>\n\u003cstrong>Leslie Odom, Jr., \u003cem>Hamilton\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Leading Actress in a Play\u003c/strong>\u003cbr>\n\u003cstrong>Jessica Lange, \u003cem>Long Day’s Journey into Night\u003c/em>\u003c/strong>\u003cbr>\nLaurie Metcalfe, \u003cem>Misery\u003c/em>\u003cbr>\nLupita Nyong’o, \u003cem>Eclipsed\u003c/em>\u003cbr>\nSophie Okonedo, \u003cem>The Crucible\u003c/em>\u003cbr>\nMichelle Williams, \u003cem>Blackbird\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actor in a Play\u003c/strong>\u003cbr>\nGabriel Byrne, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJeff Daniels, \u003cem>Blackbird\u003c/em>\u003cbr>\n\u003cstrong>Frank Langella, \u003cem>The Father\u003c/em>\u003c/strong>\u003cbr>\nTim Pigott Smith, \u003cem>King Charles III\u003c/em>\u003cbr>\nMark Strong, \u003cem>A View from the Bridge\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Direction of a Musical\u003c/strong>\u003cbr>\nMichael Arden, \u003cem>Spring Awakening\u003c/em>\u003cbr>\nJohn Doyle, \u003cem>The Color Purple\u003c/em>\u003cbr>\nScott Ellis, \u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cstrong>Thomas Kail, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nGeorge C. Wolfe, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Direction of a Play\u003c/strong>\u003cbr>\nRupert Gold, \u003cem>King Charles III\u003c/em>\u003cbr>\nJonathan Kent, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJoe Mantello, \u003cem>The Humans\u003c/em>\u003cbr>\nLiesl Tommy, \u003cem>Eclipsed\u003c/em>\u003cbr>\n\u003cstrong>Ivo Van Hove, \u003cem>A View from the Bridge\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Featured Actress in a Play\u003c/strong>\u003cbr>\nPascale Armand, \u003cem>Eclipsed\u003c/em>\u003cbr>\nMegan Hilty, \u003cem>Noises Off\u003c/em>\u003cbr>\n\u003cstrong>Jayne Houdyshell, \u003cem>The Humans\u003c/em>\u003c/strong>\u003cbr>\nAndrea Martin, \u003cem>Noises Off\u003c/em>\u003cbr>\nSaycon Sengbloh, \u003cem>Eclipsed\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actor in a Musical\u003c/strong>\u003cbr>\n\u003cstrong>Daveed Diggs, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nBrandon Victor Dixon, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nChristopher Fitzgerald, \u003cem>Waitress\u003c/em>\u003cbr>\nJonathan Groff, \u003cem>Hamilton\u003c/em>\u003cbr>\nChristopher Jackson, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actress in a Musical\u003c/strong>\u003cbr>\nDanielle Brooks, \u003cem>The Color Purple\u003c/em>\u003cbr>\n\u003cstrong>Renee Elise Goldsberry, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJane Krakowski, \u003cem>She Loves Me\u003c/em>\u003cbr>\nJennifer Simard, \u003cem>Disaster!\u003c/em>\u003cbr>\nAdrienne Warren, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actor in a Play\u003c/strong>\u003cbr>\n\u003cstrong>Reed Birney, \u003cem>The Humans\u003c/em>\u003c/strong>\u003cbr>\nBill Camp, \u003cem>The Crucible\u003c/em>\u003cbr>\nDavid Furr, \u003cem>Noises Off\u003c/em>\u003cbr>\nRichard Goulding, \u003cem>King Charles III\u003c/em>\u003cbr>\nMichael Shannon, \u003cem>Long Day’s Journey into Night\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Revival of a Play\u003c/strong>\u003cbr>\n\u003cem>The Crucible\u003c/em>\u003cbr>\n\u003cstrong>\u003cem>A View From the Bridge\u003c/em>\u003c/strong>\u003cbr>\n\u003cem>Blackbird\u003c/em>\u003cbr>\n\u003cem>Long Days Journey into Night\u003c/em>\u003cbr>\n\u003cem>Noises Off\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Revival of a Musical\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The Color Purple\u003c/em>\u003c/strong>\u003cbr>\n\u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\n\u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cem>Spring Awakening\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Book of a Musical\u003c/strong>\u003cbr>\nSteve Martin, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Lin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJulian Fellowes, \u003cem>School of Rock\u003c/em>\u003cbr>\nGeorge C. Wolfe, \u003cem>Shuffle Along\u003c/em>\u003cbr>\n\u003cstrong>\u003cbr>\nBest Choreography\u003c/strong>\u003cbr>\n\u003cstrong>Andy Blankenbuehler, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nSavion Glover, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nHofesh Shechter, \u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\nRandy Skinner, \u003cem>Dames at Sea\u003c/em>\u003cbr>\nSergio Trujillo, \u003cem>On Your Feet\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Original Score\u003c/strong>\u003cbr>\nSteve Martin, Edie Brickell, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Lin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nGlenn Sltater, Andrew Lloyd Webber, \u003cem>School of Rock\u003c/em>\u003cbr>\nSara Bareilles, \u003cem>Waitress\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Orchestrations\u003c/strong>\u003cbr>\nAugust Eriksmoen, \u003cem>Bright Star\u003c/em>\u003cbr>\nLarry Hochman, \u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cstrong>Alex Lacamoire, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nDaryl Waters, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Scenic Design of a Musical\u003c/strong>\u003cbr>\nEs Devlin & Finn Ross, \u003cem>American Psycho\u003c/em>\u003cbr>\nDavid Korins, \u003cem>Hamilton\u003c/em>\u003cbr>\nSanto Loquasto, \u003cem>Shuffle Along\u003c/em>\u003cbr>\n\u003cstrong>David Rockwell, \u003cem>She Loves Me\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Scenic Design of a Play\u003c/strong>\u003cbr>\nBeowulf Boritt, \u003cem>Thérèse Raquin\u003c/em>\u003cbr>\nChristopher Oram, \u003cem>Hughie\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>A View from the Bridge\u003c/em>\u003cbr>\n\u003cstrong>David Zinn, \u003cem>The Humans\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Costume Design of a Musical\u003c/strong>\u003cbr>\nGregg Barnes, \u003cem>Tuck Everlasting\u003c/em>\u003cbr>\nJeff Mahshie, \u003cem>She Loves Me\u003c/em>\u003cbr>\nAnn Roth, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nPaul Tazewell, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Costume Design of a Play\u003c/strong>\u003cbr>\nJane Greenwood, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nMichael Krass, \u003cem>Noises Off\u003c/em>\u003cbr>\n\u003cstrong>Clint Ramos, \u003cem>Eclipsed\u003c/em>\u003c/strong>\u003cbr>\nTom Scutt, \u003cem>King Charles III\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Lighting Design of a Musical\u003c/strong>\u003cbr>\n\u003cstrong>Howell Binkley, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJules Fisher and Peggy Eisenhauer, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nBen Stanton, \u003cem>Spring Awakening\u003c/em>\u003cbr>\nJustin Townsend, \u003cem>American Psycho\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Lighting Design of a Play\u003c/strong>\u003cbr>\nNatasha Katz, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJustin Townsend, \u003cem>The Humans\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>The Crucible\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>A View from the Bridge\u003c/em>\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Julie Walker, Jocelyn Noveck, John Carucci and Leanne Italie in New York contributed to this report.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"excerpt": "The musical biography about one of the nation's followers was one Tony short of beating the record set by 'The Producers' ",
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"title": "'Hamilton' Wins 11 Tonys but Fails to Break Record | KQED",
"description": "The musical biography about one of the nation's followers was one Tony short of beating the record set by 'The Producers' ",
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"headline": "'Hamilton' Wins 11 Tonys but Fails to Break Record",
"datePublished": "2016-06-13T13:40:17-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Hamilton\u003c/em>, the hip-hop stage biography of Alexander Hamilton, won the 2016 Tony Award for best new musical, capping an emotional night in which many in the Broadway community rallied to embrace the LGBT community after a shooting at a gay Florida nightclub.\u003c/p>\n\u003cp>Lin-Manuel Miranda’s musical biography about the first U.S. treasury secretary won 11 Tonys, just short of breaking the 12-Tony record held by \u003cem>The Producers\u003c/em>.\u003c/p>\n\u003cp>Jeffrey Seller, producer of \u003cem>Hamilton\u003c/em>, quoted the show’s lyrics when accepting the best musical crown. “Look around, look around. How lucky we are to be alive right now,” he said.\u003c/p>\n\u003cp>Broadway’s boast of being more diverse than the Oscars was proved, with black actors winning four awards in the acting categories — a history-making sweep of the musical categories — and whites winning the remaining four for plays.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> went into the night with 16 nominations and, in addition to taking the musical award, won best score, best book, direction, orchestration, choreography and best featured actor and actress statuettes for Renee Elise Goldsberry and Daveed Diggs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Watch Oakland’s own Daveed Diggs discuss winning his first Tony award:\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_BMjmo3QUaw'\n title='//www.youtube.com/embed/_BMjmo3QUaw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Leslie Odom Jr., who plays Aaron Burr, won best actor in a musical and cheered Miranda for “a new vision of what’s possible.” He also thanked his wife, actress Nicolette Robinson and his parents.\u003c/p>\n\u003cp>The show earlier won awards for costume and lighting but lost scenic design to \u003cem>She Loves Me\u003c/em>, meaning \u003cem>Hamilton\u003c/em> couldn’t break the record haul by \u003cem>The Producers\u003c/em>. Still, few shows get introduced by a sitting president, as Barack and Michelle Obama did for the performance by the show’s cast.\u003c/p>\n\u003cp>The awards show unspooled with a heavy heart a night after a gunman killed 50 people at a gay Florida nightclub, prompting a Broadway tribute to the victims at the top of the show and a smattering of references to tolerance throughout it.\u003c/p>\n\u003cp>Host James Corden dedicated the night to celebrating the diversity of Broadway. “Hate will never win. Together we have to make sure of that. Tonight’s show stands as a symbol and a celebration of that principle,” he said.\u003c/p>\n\u003cp>Barbra Streisand returned to the Tony stage for the first time in 46 years and acknowledged the killings. “Tonight our joy is tinged with sorrow but we’re here to celebrate Broadway and the beauty that artistry can bring into this world.” Art, she said, can “at times like these console us.”\u003c/p>\n\u003cp>But for much of the telecast, the mood was light and typical of an awards show.\u003c/p>\n\u003cp>Miranda, the star and creator of \u003cem>Hamilton\u003c/em>, won for best score and book, and during one of his trips to the stage, he read from a sonnet, referencing tragedy and urging “love and love and love….”\u003c/p>\n\u003cp>Thomas Kail won the Tony for directing \u003cem>Hamilton\u003c/em>. He thanked Miranda, a frequent collaborator, and celebrated the diversity of Broadway this season. “Let’s continue to tell stories,” he said.\u003c/p>\n\u003cp>British actress Cynthia Erivo won the best actress award for her Broadway debut in “The Color Purple.” She thanked her cast for “making me a stronger woman on that stage.” Her show, which failed to beat “Jersey Boys” for the best musical Tony Award in 2006, won the best musical revival award in 2016.\u003c/p>\n\u003cp>\u003cem>The Humans\u003c/em>, about a fractious family’s get-together,” was the second most decorated show with four awards, including best new play. Playwright Stephen Karam dedicated his award to all the struggling writers. “Keep the faith,” he said.\u003c/p>\n\u003cp>The play also earned wins to two mainstays of the New York stage — Jayne Houdyshell and her stage husband, Reed Birney. Both won for featured roles.\u003c/p>\n\u003cp>Not all shows had reason to smile. \u003cem>Shuffle Along\u003c/em>, the musical that explores a groundbreaking 95-year-old show, failed to win a single award, although it entered the night with 10 nominations. \u003cem>Eclipsed\u003c/em> and \u003cem>She Loves Me\u003c/em> each won only one statuette; \u003cem>Waitress\u003c/em> went home empty-handed.\u003c/p>\n\u003cp>In response to the shooting Sunday that left at least 50 people dead in a crowded nightclub in Orlando, Florida, “Hamilton” dropped its use of muskets in its performance. Many stars also wore a silver ribbon to show solidarity.\u003c/p>\n\u003cp>The shooting was close to home for Christopher Fitzgerald, who was nominated for his role in \u003cem>Waitress\u003c/em> and went to school in Orlando. “I’m heartbroken. I think everybody is feeling it, so we are at least all coming together to celebrate and not live in fear,” he said on the carpet.\u003c/p>\n\u003cp>Jessica Lange won her first Tony for playing a drug-addled mother in the revival of the monumental \u003cem>Long Day’s Journey Into Night\u003c/em>. The two-time Academy Award winner said: “This is a dream come true and it fills me with such happiness, even on such a sad day as this.”\u003c/p>\n\u003cp>Frank Langella won his fourth Tony for playing a man who has begun his slide into dementia in \u003cem>The Father\u003c/em>. He almost teared up when he mentioned his brother’s struggle with dementia. He also had a message for the people of Orlando: “We will be with you every step of the way.”\u003c/p>\n\u003cp>Dutch visionary Ivo Van Hove won his first Tony for directing an imaginative revival of Arthur Miller’s \u003cem>A View from the Bridge\u003c/em>. Under his helm, the barefoot cast warily circled one another under bright lights in a set that resembled a boxing ring. The show was also named best play revival.\u003c/p>\n\u003cp>The show opened with the cast of \u003cem>Hamilton\u003c/em> performing their opening number with the lyrics altered to have them all wondering why Corden — “chatting with Hollywood phonies” — had earned the honor of hosting the show.\u003c/p>\n\u003cp>The \u003cem>The Late Late Show\u003c/em> host had some quips for the theater-loving audience: “This is like the Super Bowl for people who don’t know what the Super Bowl is,” he said at one point. He later flirted with Oprah Winfrey.\u003c/p>\n\u003cp>Donald Trump was a frequent target. Nathan Lane made a crack about Trump University and Emilio Estefan insisted that his all-Latin cast for “On Your Feet!” were all in the U.S. legally. Corden at one point suggested there were so many diverse performers on the show that the Republican candidate would want to put a wall around the theater. There was also a joke about Trump starring in “The Book of Moron.” To be fair, Glenn Close mocked Hillary Clinton in the fictional show “A Clinton Line.”\u003c/p>\n\u003cp>“Hamilton” and the 38 new productions this season helped Broadway’s attendance figures hit a record high, up 1.6 percent to 13.3 million ticket buyers. The season also was rich in diversity among actors: Fourteen of the 40 Tony nominees for acting in plays and musicals — or 35 percent — were actors of color.\u003c/p>\n\u003cp>The best musical Tony caps a stunning year for \u003cem>Hamilton\u003c/em> that includes Miranda winning the 2016 Pulitzer Prize for drama, a Grammy, the Edward M. Kennedy Prize for Drama Inspired by American History and a MacArthur Foundation “genius” grant.\u003c/p>\n\u003cp>Tony producers will hope its presence on the telecast will stem a three-year slide in viewership. Last year’s telecast — hosted by Alan Cumming and Kristin Chenoweth — was watched by a mere 6.35 million viewers. In 2014, it reached 7.02 million and captured 7.24 million in 2013.\u003c/p>\n\u003cp>\u003ci>Here’s the list of nominees, with the winners highlighted:\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Best Musical\u003c/strong>\u003cbr>\n\u003cem>Bright Star\u003cbr>\n\u003cstrong>Hamilton\u003c/strong>\u003cbr>\nSchool of Rock\u003cbr>\nShuffle Along\u003cbr>\nWaitress\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Play\u003c/strong>\u003cbr>\n\u003cem>Eclipsed\u003cbr>\nThe Father\u003cbr>\n\u003cstrong>The Humans\u003c/strong>\u003cbr>\nKing Charles III\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actress in a Musical\u003c/strong>\u003cbr>\nLaura Benanti, \u003cem>She Loves Me\u003c/em>\u003cbr>\nCarmen Cusack, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Cynthia Erivo, \u003cem>The Color Purple\u003c/em>\u003c/strong>\u003cbr>\nJessie Mueller, \u003cem>Waitress\u003c/em>\u003cbr>\nPhillipa Soo, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actor in a Musical\u003c/strong>\u003cbr>\nAlex Brightman, \u003cem>School of Rock\u003c/em>\u003cbr>\nDanny Burnstein, \u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\nZachary Levi, \u003cem>She Loves Me\u003c/em>\u003cbr>\nLin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003cbr>\n\u003cstrong>Leslie Odom, Jr., \u003cem>Hamilton\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Leading Actress in a Play\u003c/strong>\u003cbr>\n\u003cstrong>Jessica Lange, \u003cem>Long Day’s Journey into Night\u003c/em>\u003c/strong>\u003cbr>\nLaurie Metcalfe, \u003cem>Misery\u003c/em>\u003cbr>\nLupita Nyong’o, \u003cem>Eclipsed\u003c/em>\u003cbr>\nSophie Okonedo, \u003cem>The Crucible\u003c/em>\u003cbr>\nMichelle Williams, \u003cem>Blackbird\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Leading Actor in a Play\u003c/strong>\u003cbr>\nGabriel Byrne, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJeff Daniels, \u003cem>Blackbird\u003c/em>\u003cbr>\n\u003cstrong>Frank Langella, \u003cem>The Father\u003c/em>\u003c/strong>\u003cbr>\nTim Pigott Smith, \u003cem>King Charles III\u003c/em>\u003cbr>\nMark Strong, \u003cem>A View from the Bridge\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Direction of a Musical\u003c/strong>\u003cbr>\nMichael Arden, \u003cem>Spring Awakening\u003c/em>\u003cbr>\nJohn Doyle, \u003cem>The Color Purple\u003c/em>\u003cbr>\nScott Ellis, \u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cstrong>Thomas Kail, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nGeorge C. Wolfe, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Direction of a Play\u003c/strong>\u003cbr>\nRupert Gold, \u003cem>King Charles III\u003c/em>\u003cbr>\nJonathan Kent, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJoe Mantello, \u003cem>The Humans\u003c/em>\u003cbr>\nLiesl Tommy, \u003cem>Eclipsed\u003c/em>\u003cbr>\n\u003cstrong>Ivo Van Hove, \u003cem>A View from the Bridge\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Featured Actress in a Play\u003c/strong>\u003cbr>\nPascale Armand, \u003cem>Eclipsed\u003c/em>\u003cbr>\nMegan Hilty, \u003cem>Noises Off\u003c/em>\u003cbr>\n\u003cstrong>Jayne Houdyshell, \u003cem>The Humans\u003c/em>\u003c/strong>\u003cbr>\nAndrea Martin, \u003cem>Noises Off\u003c/em>\u003cbr>\nSaycon Sengbloh, \u003cem>Eclipsed\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actor in a Musical\u003c/strong>\u003cbr>\n\u003cstrong>Daveed Diggs, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nBrandon Victor Dixon, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nChristopher Fitzgerald, \u003cem>Waitress\u003c/em>\u003cbr>\nJonathan Groff, \u003cem>Hamilton\u003c/em>\u003cbr>\nChristopher Jackson, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actress in a Musical\u003c/strong>\u003cbr>\nDanielle Brooks, \u003cem>The Color Purple\u003c/em>\u003cbr>\n\u003cstrong>Renee Elise Goldsberry, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJane Krakowski, \u003cem>She Loves Me\u003c/em>\u003cbr>\nJennifer Simard, \u003cem>Disaster!\u003c/em>\u003cbr>\nAdrienne Warren, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Featured Actor in a Play\u003c/strong>\u003cbr>\n\u003cstrong>Reed Birney, \u003cem>The Humans\u003c/em>\u003c/strong>\u003cbr>\nBill Camp, \u003cem>The Crucible\u003c/em>\u003cbr>\nDavid Furr, \u003cem>Noises Off\u003c/em>\u003cbr>\nRichard Goulding, \u003cem>King Charles III\u003c/em>\u003cbr>\nMichael Shannon, \u003cem>Long Day’s Journey into Night\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Revival of a Play\u003c/strong>\u003cbr>\n\u003cem>The Crucible\u003c/em>\u003cbr>\n\u003cstrong>\u003cem>A View From the Bridge\u003c/em>\u003c/strong>\u003cbr>\n\u003cem>Blackbird\u003c/em>\u003cbr>\n\u003cem>Long Days Journey into Night\u003c/em>\u003cbr>\n\u003cem>Noises Off\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Revival of a Musical\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The Color Purple\u003c/em>\u003c/strong>\u003cbr>\n\u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\n\u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cem>Spring Awakening\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Book of a Musical\u003c/strong>\u003cbr>\nSteve Martin, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Lin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJulian Fellowes, \u003cem>School of Rock\u003c/em>\u003cbr>\nGeorge C. Wolfe, \u003cem>Shuffle Along\u003c/em>\u003cbr>\n\u003cstrong>\u003cbr>\nBest Choreography\u003c/strong>\u003cbr>\n\u003cstrong>Andy Blankenbuehler, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nSavion Glover, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nHofesh Shechter, \u003cem>Fiddler on the Roof\u003c/em>\u003cbr>\nRandy Skinner, \u003cem>Dames at Sea\u003c/em>\u003cbr>\nSergio Trujillo, \u003cem>On Your Feet\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Original Score\u003c/strong>\u003cbr>\nSteve Martin, Edie Brickell, \u003cem>Bright Star\u003c/em>\u003cbr>\n\u003cstrong>Lin-Manuel Miranda, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nGlenn Sltater, Andrew Lloyd Webber, \u003cem>School of Rock\u003c/em>\u003cbr>\nSara Bareilles, \u003cem>Waitress\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Orchestrations\u003c/strong>\u003cbr>\nAugust Eriksmoen, \u003cem>Bright Star\u003c/em>\u003cbr>\nLarry Hochman, \u003cem>She Loves Me\u003c/em>\u003cbr>\n\u003cstrong>Alex Lacamoire, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nDaryl Waters, \u003cem>Shuffle Along\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Scenic Design of a Musical\u003c/strong>\u003cbr>\nEs Devlin & Finn Ross, \u003cem>American Psycho\u003c/em>\u003cbr>\nDavid Korins, \u003cem>Hamilton\u003c/em>\u003cbr>\nSanto Loquasto, \u003cem>Shuffle Along\u003c/em>\u003cbr>\n\u003cstrong>David Rockwell, \u003cem>She Loves Me\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Scenic Design of a Play\u003c/strong>\u003cbr>\nBeowulf Boritt, \u003cem>Thérèse Raquin\u003c/em>\u003cbr>\nChristopher Oram, \u003cem>Hughie\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>A View from the Bridge\u003c/em>\u003cbr>\n\u003cstrong>David Zinn, \u003cem>The Humans\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Costume Design of a Musical\u003c/strong>\u003cbr>\nGregg Barnes, \u003cem>Tuck Everlasting\u003c/em>\u003cbr>\nJeff Mahshie, \u003cem>She Loves Me\u003c/em>\u003cbr>\nAnn Roth, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nPaul Tazewell, \u003cem>Hamilton\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Costume Design of a Play\u003c/strong>\u003cbr>\nJane Greenwood, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nMichael Krass, \u003cem>Noises Off\u003c/em>\u003cbr>\n\u003cstrong>Clint Ramos, \u003cem>Eclipsed\u003c/em>\u003c/strong>\u003cbr>\nTom Scutt, \u003cem>King Charles III\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Lighting Design of a Musical\u003c/strong>\u003cbr>\n\u003cstrong>Howell Binkley, \u003cem>Hamilton\u003c/em>\u003c/strong>\u003cbr>\nJules Fisher and Peggy Eisenhauer, \u003cem>Shuffle Along\u003c/em>\u003cbr>\nBen Stanton, \u003cem>Spring Awakening\u003c/em>\u003cbr>\nJustin Townsend, \u003cem>American Psycho\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Lighting Design of a Play\u003c/strong>\u003cbr>\nNatasha Katz, \u003cem>Long Day’s Journey Into Night\u003c/em>\u003cbr>\nJustin Townsend, \u003cem>The Humans\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>The Crucible\u003c/em>\u003cbr>\nJan Versweyveld, \u003cem>A View from the Bridge\u003c/em>\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Julie Walker, Jocelyn Noveck, John Carucci and Leanne Italie in New York contributed to this report.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "'Threshold Choir' Brings Songs of Comfort to the Dying",
"title": "'Threshold Choir' Brings Songs of Comfort to the Dying",
"headTitle": "State of Health | KQED News",
"content": "\u003cp>Three women climb the stairs of a beautiful Victorian in San Francisco. They hold nothing in their hands, but they bring a precious gift. These women are members of the Threshold Choir, and the home they are visiting is the Zen Hospice Project. They sing to people at the last threshold of life, and today, when they reach the second floor, they find Luca Sager, a 38-year-old chef with terminal brain cancer.\u003c/p>\n\u003cp>Sager’s hands, tattooed with a salt and pepper shakers, rest on the top of his covers as he listens as the women sing, a cappella:\u003c/p>\n\u003cp>\u003cem>You are not alone\u003cbr>\nI am here now\u003cbr>\nWe are not alone\u003cbr>\nWe are here together\u003c/em>\u003c/p>\n\u003cp>Sager speaks slowly through medication and pain. He says peace fills him when the women sing. “It feels like a good time for me to gather my feelings about gratitude and being calm and appreciation. I just smile a lot.”\u003c/p>\n\u003cp>Kate Munger founded the Threshold Choir in Marin County and the East Bay 16 years ago. She says it grew out of her own experience of sitting with a friend of who was dying of AIDS back in the '90s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was very distressing to see him comatose and agitated,” Munger recalls. “I did what I did at the time when I was nervous or afraid, and I started singing -- instinctively.”\u003c/p>\n\u003cp>She says her friend “calmed, settled and got positively serene,” and her own feelings mirrored those of her dying friend. “I felt like I had discovered, or rediscovered, something -- an ancient practice that tribal humans do for one another when someone’s struggling.”\u003c/p>\n\u003cfigure id=\"attachment_196124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-196124 size-full\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/06/Threshold-Choir_Web-2.jpg\" alt=\"Threshold Choir_Web 2\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luca Sager, 38, who is terminally ill with brain cancer, listens to the Threshold Choir. They are \"an act of care,\" he says. \u003ccite>(Scott Stoneback for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://thresholdchoir.org\" target=\"_blank\">Threshold Choir\u003c/a> has spread since then -- across North America and to other countries. It is devoted to lifting others up, to creating a place for reflection, especially for people who may be outside the traditional reaches of religion. The singers speak of the healing quality of music and the power of the human voice to soothe and to make beautiful the process of dying, which is so often accompanied by great fear.\u003c/p>\n\u003cp>Choir singer Katharine Rose Kirner says she knows what it is like to lie powerless in bed facing the fear of death. In 2001, as the country was reeling from the 9/11 attacks, Kirner faced a different kind of threat, a brain tumor the size of a grapefruit. She says she was gripped by fear of death and feelings she had not done what she needed to do in her life. She vowed to do something “important” if she recuperated.\u003c/p>\n\u003cp>When she did eventually heal, she learned of the Threshold Choir and became a devoted member singing at least once a week. She says being part of the choir has given her a chance to see how gentle dying can be.\u003c/p>\n\u003cp>“Most of us think of death as an event, but it’s a process,\" she says. \"That gave me great comfort.” Watching the process has moved her to think of what she wants at her own death, something she says she would not have contemplated without being in the choir. \"I would have sat in the fear.”\u003c/p>\n\u003cfigure id=\"attachment_196122\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-196122 size-full\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/06/Threshold-Choir__Web-3.jpg\" alt=\"Threshold Choir__Web 3\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kate Munger, founder of the Threshold Choir. \u003ccite>(Scott Stoneback for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer Peggy Cadbury, a retired nurse, saw a fair amount of death while working in hospital settings. But as a member of the choir, she has the chance to tend to the dying with a different intention. \u003c/p>\n\u003cp>“When you're nursing at the bedside of somebody who is dying, you're constantly concerned about their physical wellbeing, their pain level, ” Cadbury says. But as a member of the choir, “I can just be there to hold space for that person in the room and create an environment of comfort and caring.”\u003c/p>\n\u003cp>Munger says the harmonies are particularly powerful in creating a sense of calm and wellbeing. “It’s a visceral experience. It’s not just the ears; it's full body absorption of vibration.”\u003c/p>\n\u003cp>Cadbury says singing quietly and softly the simple songs written by choir members is much like singing a lullaby to a child. \u003c/p>\n\u003cp>“It is like a gentle caress, and it feels right,” she says.\u003c/p>\n\u003cp>Sager, the patient, says the singing not only helps bring him emotional calm, but it also reduces the physical pain he has in his head around the tumor.\u003c/p>\n\u003cp>Research suggests that listening to live music can help reduce pain in palliative care patients. A \u003ca href=\"http://www.ncbi.nlm.nih.gov/pubmed/23017609\" target=\"_blank\">2012 study\u003c/a> found that patients found that patients who had the harp played to them for 20 minutes -- along with breathing exercises and visualization -- reported a significant decrease in pain compared to a control group.\u003c/p>\n\u003cp>Registered nurse and certified music therapist Kathy Jo Gutgsell at University Hospitals in Cleveland was lead author of the study. She believes music “may awaken the body’s own endorphins\" -- those much-chased-after chemicals that make us feel better about the world.\u003c/p>\n\u003cp>The human brain \"doesn’t multitask very well,\" she explains. \"When we are paying attention to the music, we can't pay attention to the pain.” \u003c/p>\n\u003cp>Gutgsell says music is tied to memories and can connect us to times of great joy and sadness. “I think humans are hardwired for music. Some people think we were singing before we were speaking back at the beginning of humanity.”\u003c/p>\n\u003cp>The Threshold Choir singers say they, too, are helped by the act of singing together and for a person in need. “You see them calm, and then you calm, and it’s a reciprocal thing,” Cadbury says.\u003c/p>\n\u003cp>Kirner says singing in the choir is one of the best things in her life. “I get a sense of purpose.” Choir singers may benefit in other ways. A growing body of research finds that people who take part in choral singing have a better sense of wellbeing than those who don’t sing.\u003c/p>\n\u003cfigure id=\"attachment_196125\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-196125 size-full\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1.jpg\" alt=\"Threshold Choir_Web 1-1\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left, Peggy Cadbury, Katharine Rose Kirner and Karen Mooney, members of the Threshold Choir. \u003ccite>(Scott Stoneback for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The research suggests that singing itself can raise levels of oxytocin, the hormone associated with trust and bonding. So people who sing in chorus may feel a strong bond with those they sing with together. Right now in San Francisco, a\u003ca href=\"http://ww2.kqed.org/stateofhealth/2013/08/20/in-san-francisco-seniors-are-singing-for-science/\" target=\"_blank\"> five-year study is underway\u003c/a> looking at both the possible physical and emotional benefits of choral singing for seniors.\u003c/p>\n\u003cp>Munger says songs are “ethereal, evanescent, and mysterious” and she believes they can serve as a bridge “from the purely physical, temporal, body experience ... to what lies beyond.”\u003c/p>\n\u003cp>As for Cadbury, she says watching others die has helped her frame her daily life and what she hopes for her death. “Singing at the bedside of people who are dying has helped me appreciate being alive, has made more feel more alive and more into being the moment and enjoy life. I hope that when I am on the threshold someone will come and sing to me these beautiful, peaceful songs of comfort.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sager, the patient, says he believes as human beings our purpose in life is to be givers however we can. He says he did that as a chef, serving homemade nourishing food. He says he is proud of the Threshold Choir for offering their songs as a gift, “to receive that gift is an act of love and support, an act of care, which is what I need most in my life right now.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three women climb the stairs of a beautiful Victorian in San Francisco. They hold nothing in their hands, but they bring a precious gift. These women are members of the Threshold Choir, and the home they are visiting is the Zen Hospice Project. They sing to people at the last threshold of life, and today, when they reach the second floor, they find Luca Sager, a 38-year-old chef with terminal brain cancer.\u003c/p>\n\u003cp>Sager’s hands, tattooed with a salt and pepper shakers, rest on the top of his covers as he listens as the women sing, a cappella:\u003c/p>\n\u003cp>\u003cem>You are not alone\u003cbr>\nI am here now\u003cbr>\nWe are not alone\u003cbr>\nWe are here together\u003c/em>\u003c/p>\n\u003cp>Sager speaks slowly through medication and pain. He says peace fills him when the women sing. “It feels like a good time for me to gather my feelings about gratitude and being calm and appreciation. I just smile a lot.”\u003c/p>\n\u003cp>Kate Munger founded the Threshold Choir in Marin County and the East Bay 16 years ago. She says it grew out of her own experience of sitting with a friend of who was dying of AIDS back in the '90s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was very distressing to see him comatose and agitated,” Munger recalls. “I did what I did at the time when I was nervous or afraid, and I started singing -- instinctively.”\u003c/p>\n\u003cp>She says her friend “calmed, settled and got positively serene,” and her own feelings mirrored those of her dying friend. “I felt like I had discovered, or rediscovered, something -- an ancient practice that tribal humans do for one another when someone’s struggling.”\u003c/p>\n\u003cfigure id=\"attachment_196124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-196124 size-full\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/06/Threshold-Choir_Web-2.jpg\" alt=\"Threshold Choir_Web 2\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luca Sager, 38, who is terminally ill with brain cancer, listens to the Threshold Choir. They are \"an act of care,\" he says. \u003ccite>(Scott Stoneback for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://thresholdchoir.org\" target=\"_blank\">Threshold Choir\u003c/a> has spread since then -- across North America and to other countries. It is devoted to lifting others up, to creating a place for reflection, especially for people who may be outside the traditional reaches of religion. The singers speak of the healing quality of music and the power of the human voice to soothe and to make beautiful the process of dying, which is so often accompanied by great fear.\u003c/p>\n\u003cp>Choir singer Katharine Rose Kirner says she knows what it is like to lie powerless in bed facing the fear of death. In 2001, as the country was reeling from the 9/11 attacks, Kirner faced a different kind of threat, a brain tumor the size of a grapefruit. She says she was gripped by fear of death and feelings she had not done what she needed to do in her life. She vowed to do something “important” if she recuperated.\u003c/p>\n\u003cp>When she did eventually heal, she learned of the Threshold Choir and became a devoted member singing at least once a week. She says being part of the choir has given her a chance to see how gentle dying can be.\u003c/p>\n\u003cp>“Most of us think of death as an event, but it’s a process,\" she says. \"That gave me great comfort.” Watching the process has moved her to think of what she wants at her own death, something she says she would not have contemplated without being in the choir. \"I would have sat in the fear.”\u003c/p>\n\u003cfigure id=\"attachment_196122\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-196122 size-full\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/06/Threshold-Choir__Web-3.jpg\" alt=\"Threshold Choir__Web 3\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir__Web-3-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kate Munger, founder of the Threshold Choir. \u003ccite>(Scott Stoneback for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer Peggy Cadbury, a retired nurse, saw a fair amount of death while working in hospital settings. But as a member of the choir, she has the chance to tend to the dying with a different intention. \u003c/p>\n\u003cp>“When you're nursing at the bedside of somebody who is dying, you're constantly concerned about their physical wellbeing, their pain level, ” Cadbury says. But as a member of the choir, “I can just be there to hold space for that person in the room and create an environment of comfort and caring.”\u003c/p>\n\u003cp>Munger says the harmonies are particularly powerful in creating a sense of calm and wellbeing. “It’s a visceral experience. It’s not just the ears; it's full body absorption of vibration.”\u003c/p>\n\u003cp>Cadbury says singing quietly and softly the simple songs written by choir members is much like singing a lullaby to a child. \u003c/p>\n\u003cp>“It is like a gentle caress, and it feels right,” she says.\u003c/p>\n\u003cp>Sager, the patient, says the singing not only helps bring him emotional calm, but it also reduces the physical pain he has in his head around the tumor.\u003c/p>\n\u003cp>Research suggests that listening to live music can help reduce pain in palliative care patients. A \u003ca href=\"http://www.ncbi.nlm.nih.gov/pubmed/23017609\" target=\"_blank\">2012 study\u003c/a> found that patients found that patients who had the harp played to them for 20 minutes -- along with breathing exercises and visualization -- reported a significant decrease in pain compared to a control group.\u003c/p>\n\u003cp>Registered nurse and certified music therapist Kathy Jo Gutgsell at University Hospitals in Cleveland was lead author of the study. She believes music “may awaken the body’s own endorphins\" -- those much-chased-after chemicals that make us feel better about the world.\u003c/p>\n\u003cp>The human brain \"doesn’t multitask very well,\" she explains. \"When we are paying attention to the music, we can't pay attention to the pain.” \u003c/p>\n\u003cp>Gutgsell says music is tied to memories and can connect us to times of great joy and sadness. “I think humans are hardwired for music. Some people think we were singing before we were speaking back at the beginning of humanity.”\u003c/p>\n\u003cp>The Threshold Choir singers say they, too, are helped by the act of singing together and for a person in need. “You see them calm, and then you calm, and it’s a reciprocal thing,” Cadbury says.\u003c/p>\n\u003cp>Kirner says singing in the choir is one of the best things in her life. “I get a sense of purpose.” Choir singers may benefit in other ways. A growing body of research finds that people who take part in choral singing have a better sense of wellbeing than those who don’t sing.\u003c/p>\n\u003cfigure id=\"attachment_196125\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-196125 size-full\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1.jpg\" alt=\"Threshold Choir_Web 1-1\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2016/06/Threshold-Choir_Web-1-1-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left, Peggy Cadbury, Katharine Rose Kirner and Karen Mooney, members of the Threshold Choir. \u003ccite>(Scott Stoneback for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The research suggests that singing itself can raise levels of oxytocin, the hormone associated with trust and bonding. So people who sing in chorus may feel a strong bond with those they sing with together. Right now in San Francisco, a\u003ca href=\"http://ww2.kqed.org/stateofhealth/2013/08/20/in-san-francisco-seniors-are-singing-for-science/\" target=\"_blank\"> five-year study is underway\u003c/a> looking at both the possible physical and emotional benefits of choral singing for seniors.\u003c/p>\n\u003cp>Munger says songs are “ethereal, evanescent, and mysterious” and she believes they can serve as a bridge “from the purely physical, temporal, body experience ... to what lies beyond.”\u003c/p>\n\u003cp>As for Cadbury, she says watching others die has helped her frame her daily life and what she hopes for her death. “Singing at the bedside of people who are dying has helped me appreciate being alive, has made more feel more alive and more into being the moment and enjoy life. I hope that when I am on the threshold someone will come and sing to me these beautiful, peaceful songs of comfort.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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