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"content": "\u003cp>Ballet is a cruel business. After 10-15 years of monastic training, those few who win professional contracts face slim prospects of advancing from the \u003cem>corps de ballet\u003c/em> to the rank of soloist. Even discounting the ever-present risk of a career-ending injury, dancers’ tenures tend to be brutally short. No wonder that so few of them feel they have the bandwidth to branch out into choreography –- at least, not until they have retired from the stage. And even then, companies rarely take a punt on the inexperienced.\u003c/p>\n\u003cp>Yet the ballet world direly needs fresh choreographic voices to boost demand for live performance. “Worldwide, the search for talented choreographers has become an important issue,” says Bolshoi Ballet spokeswoman Katya Novikova, admitting that the lauded Russian dance company has not built up as strong a pipeline of new choreographers as they would like.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week, the industry has its eyes on Wei Wang. Trained at the Beijing Dance Academy and only in his third season at San Francisco Ballet, the 23-year-old \u003cem>corps de ballet\u003c/em> member has just won a coveted promotion to soloist.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11622585\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11622585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-800x532.jpg\" alt=\"San Francisco Ballet's Wei Wang and Yuan Yuan Tan in William Forsythe's 'Pas/Parts' (Photo: Erik Tomasson)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet’s Wei Wang and Yuan Yuan Tan in William Forsythe’s ‘Pas/Parts’ (Photo: Erik Tomasson)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">And earlier this week, Wang achieved a coup that lies well beyond the reach of most professional ballet dancers: he unveiled his first-ever choreographic work, created on advanced students of the San Francisco Ballet School, at the school’s \u003ca href=\"https://ybca.org/whats-on/an-invitation-to-dance-2016-student-showcase.\" target=\"_blank\" rel=\"noopener\">annual showcase\u003c/a> at the Yerba Buena Center for the Arts. Few other SF Ballet dancers have been been given the choreographic reins in the company’s long history. The very short list includes Myles Thatcher, \u003c/span>James Sofranko, Francisco Mungamba and Benjamin Freemantle.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In \u003cem>Focus\u003c/em>, Wang slices and engineers a recording of Beethoven’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Moonlight Sonata\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to incorporate street and industrial noises, as well as the sounds of rumbling thunder. Thanks to Jim French’s dramatic lighting design, the overall effect is gripping, like listening to the great composer’s music in a threatening storm. Later in the piece, the soundscape mimics being under the sea in a submarine, listening for the pinging of black boxes from a downed airliner. To this mercurial score, the very fine and committed quintet of Yumi Kanazawa, Shené Lazarus, Victor Prigent, Davide Occhipinti, and Nathaniel Remez slither, melt and twist their bodies into wondrous contours. The evanescent pairings, fluid yet sharply edged, are blessedly free of the romantic and sexual overtones that blight so many amateurish contemporary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">pas de deux\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003cspan style=\"font-weight: 400\">Wang presents each pair as a single organism.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11622715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11622715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-800x507.jpg\" alt=\"A moment from Wei Wang’s first choreographic work for SF Ballet, ‘Focus’\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-1920x1216.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-960x608.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A moment from Wei Wang’s first choreographic work for SF Ballet, ‘Focus’ \u003ccite>(Photo: Chris Hardy/San Francisco Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite his lack of experience, the choreographer demonstrates a remarkable facility for movement invention, as well as a mastery of stillness and austerity. Will we be seeing more from this young man, who clearly has a lot to say?\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>How to grow a choreographer\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It takes time for a choreographer to mature, and few professional ballet companies afford new dancemakers the luxury to fail in the current era of tight funding. It’s not a skill that can be taught, but rather a rare, innate talent that is cultivated through practice. You need far more young choreographers in the pipeline than we have now, because only a tiny percentage will grow up to be any good.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The world’s largest ballet companies do not systematically nurture new choreographers from within their ranks. Given the demands of the rehearsal process and the complexity of the artistic collaborations involved, the cost of mounting a new ballet can run from $100,000 into the millions for an evening-length production. Established choreographers, therefore, are an easier sell to backers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And yet there’s a compelling argument for ballet institutions to nurture inside talent from the ranks, for dancers often know their company peers better than the seasoned choreographers who jet from commission to commission. And fresh, young voices can do a lot to move the art form forwards in new and unpredictable ways. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11621465\" class=\"wp-caption alignnone\" style=\"max-width: 570px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11621465\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/2015-02-26-_ET39405-thumb.jpg\" alt=\"Norika Matsuyama and Steven Morse in Myles Thatcher's 'Manifesto' at San Francisco Ballet (Photo: Erik Tomasson)\" width=\"570\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2015-02-26-_ET39405-thumb.jpg 570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2015-02-26-_ET39405-thumb-400x267.jpg 400w\" sizes=\"(max-width: 570px) 100vw, 570px\">\u003cfigcaption class=\"wp-caption-text\">Norika Matsuyama and Steven Morse in Myles Thatcher’s ‘Manifesto’ at San Francisco Ballet (Photo: Erik Tomasson)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though few large companies have placed bets on inside talent, their scattered efforts have been quite well received by audiences. \u003c/span>\u003cspan style=\"font-weight: 400\">Christopher Wheeldon and Liam Scarlett retired from the stage as soloists with City Ballet and the Royal Ballet, respectively, to step into full-time choreographer jobs with those companies. \u003c/span> \u003cspan style=\"font-weight: 400\">New York City Ballet’s Justin Peck and SF Ballet’s Thatcher are rare examples of young \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">corps de ballet\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> dancers whose home companies have given them several shots at choreographing works. The National Ballet of Canada’s Robert Binet graduated from the company’s school directly into a choreographic post, nurtured by stints with the Royal Ballet, Hamburg’s National Youth Ballet and New York City Ballet. And fresh out of the Royal Ballet School last September, Charlotte Edmonds (at only 19 years of age) landed a choreographic apprenticeship carved especially for her by the Royal Ballet. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Whose job is it?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11621340\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11621340\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Hamburg-800x533.jpg\" alt=\"Patricia Friza in Aleix Martínez' 'Kleines Requiem,' from Hamburg Ballet's Young Choreographers 2016 program (Photo: Kiran West)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Friza in Aleix Martínez’ ‘Kleines Requiem,’ from Hamburg Ballet’s Young Choreographers 2016 program (Photo: Kiran West)\u003c/figcaption>\u003c/figure>\n\u003cp>With the exception of New York City Ballet’s ‘Choreographic Institute’ – which, starting in 2000, has given a handful of emerging choreographers two-week residencies – these opportunities remain, for the most part, sporadic. The Bolshoi Ballet has just selected nine participants, mostly Bolshoi dancers, for the first phase of a new choreographers program, spearheaded by departing artistic director Sergei Filin. Oregon Ballet Theatre launched \u003ca href=\"http://www.obt.org/index.php/choreography-xx/\">a competition\u003c/a> this year, exclusively aimed at female choreographers – \u003ca href=\"https://www.theguardian.com/stage/2016/jan/18/akram-khan-more-female-choreographers-for-the-sake-of-it-luke-jennings-reply\">a cohort that is shockingly under-represented\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11621468\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11621468 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-800x512.jpg\" alt=\"A scene from 'Hydragyrum' by Patricia Okenwa for Rambert Dance Company (Photo: Tristram Kenton) \" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-1920x1229.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Hydragyrum’ by Patricia Okenwa for Rambert Dance Company (Photo: Tristram Kenton)\u003c/figcaption>\u003c/figure>\n\u003cp>Some nimble and forward-thinking companies have been tackling the pipeline problem assiduously. For example, London’s Rambert Dance Company is known for nurturing choreographers internally, and has supported the creation of the New Movement Collective – a group of dance artists (mostly current or former Rambert dancers) who make site-specific works. \u003cspan style=\"font-weight: 400\">Out of Hamburg Ballet’s 60 dancers, 18 of them participated in this year’s Young Choreographers program. \u003c/span>And Les Grands Ballets Canadiens de Montreal organizes \u003cem>Les Ateliers Chorégraphiques\u003c/em>, programs that are entirely conceived, designed, publicized, and performed by a handful of company dancers.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To fill the choreographer pipeline is not only costly, but it also requires an appetite for risk. Few private donors are willing to throw that kind of money at emerging choreographers with potentially low batting averages. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11620425\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11620425 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-800x532.jpg\" alt=\"Amanda Treiber and the NYU Steel ensemble in Steven Melendez’ and Zhong-Jing Fang’s Song Before Spring for New York Theatre Ballet at New York Live Arts (Photo: Rachel Neville)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Treiber and the NYU Steel ensemble in Steven Melendez’ and Zhong-Jing Fang’s ‘Song Before Spring’ for New York Theatre Ballet at New York Live Arts (Photo: Rachel Neville)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But without nurturing dancemaking talent from within, companies risk a greater loss: an important opportunity for innovation and creativity. “\u003c/span>\u003cspan style=\"line-height: 1.5\">It seems like the priority today is to sell tickets using popular, well-known choreographers,” says Diana Byer, founder and artistic director of New York Theatre Ballet, whose company has been investing in new choreographers almost since its founding more than 30 years ago — and often to critical acclaim. “Companies need to find new ways to bring in audiences to see choreographers who are not prominent dancers, but who might have a vivid imagination in creating new work that doesn’t just mimic the great dancemakers who came before them.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\u003cblockquote>\u003cp> \u003c/p>\u003c/blockquote>\n\n",
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"excerpt": "San Francisco Ballet dancer Wei Wang got a rare chance to create a dance piece for students at his own company this week. But when it comes to choreography, companies are often reluctant to nurture inside talent ",
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"description": "San Francisco Ballet dancer Wei Wang got a rare chance to create a dance piece for students at his own company this week. But when it comes to choreography, companies are often reluctant to nurture inside talent ",
"title": "Why So Few Ballet Dancers Become Choreographers | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ballet is a cruel business. After 10-15 years of monastic training, those few who win professional contracts face slim prospects of advancing from the \u003cem>corps de ballet\u003c/em> to the rank of soloist. Even discounting the ever-present risk of a career-ending injury, dancers’ tenures tend to be brutally short. No wonder that so few of them feel they have the bandwidth to branch out into choreography –- at least, not until they have retired from the stage. And even then, companies rarely take a punt on the inexperienced.\u003c/p>\n\u003cp>Yet the ballet world direly needs fresh choreographic voices to boost demand for live performance. “Worldwide, the search for talented choreographers has become an important issue,” says Bolshoi Ballet spokeswoman Katya Novikova, admitting that the lauded Russian dance company has not built up as strong a pipeline of new choreographers as they would like.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week, the industry has its eyes on Wei Wang. Trained at the Beijing Dance Academy and only in his third season at San Francisco Ballet, the 23-year-old \u003cem>corps de ballet\u003c/em> member has just won a coveted promotion to soloist.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11622585\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11622585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-800x532.jpg\" alt=\"San Francisco Ballet's Wei Wang and Yuan Yuan Tan in William Forsythe's 'Pas/Parts' (Photo: Erik Tomasson)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet’s Wei Wang and Yuan Yuan Tan in William Forsythe’s ‘Pas/Parts’ (Photo: Erik Tomasson)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">And earlier this week, Wang achieved a coup that lies well beyond the reach of most professional ballet dancers: he unveiled his first-ever choreographic work, created on advanced students of the San Francisco Ballet School, at the school’s \u003ca href=\"https://ybca.org/whats-on/an-invitation-to-dance-2016-student-showcase.\" target=\"_blank\" rel=\"noopener\">annual showcase\u003c/a> at the Yerba Buena Center for the Arts. Few other SF Ballet dancers have been been given the choreographic reins in the company’s long history. The very short list includes Myles Thatcher, \u003c/span>James Sofranko, Francisco Mungamba and Benjamin Freemantle.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In \u003cem>Focus\u003c/em>, Wang slices and engineers a recording of Beethoven’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Moonlight Sonata\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to incorporate street and industrial noises, as well as the sounds of rumbling thunder. Thanks to Jim French’s dramatic lighting design, the overall effect is gripping, like listening to the great composer’s music in a threatening storm. Later in the piece, the soundscape mimics being under the sea in a submarine, listening for the pinging of black boxes from a downed airliner. To this mercurial score, the very fine and committed quintet of Yumi Kanazawa, Shené Lazarus, Victor Prigent, Davide Occhipinti, and Nathaniel Remez slither, melt and twist their bodies into wondrous contours. The evanescent pairings, fluid yet sharply edged, are blessedly free of the romantic and sexual overtones that blight so many amateurish contemporary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">pas de deux\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003cspan style=\"font-weight: 400\">Wang presents each pair as a single organism.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11622715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11622715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-800x507.jpg\" alt=\"A moment from Wei Wang’s first choreographic work for SF Ballet, ‘Focus’\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-1920x1216.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-960x608.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A moment from Wei Wang’s first choreographic work for SF Ballet, ‘Focus’ \u003ccite>(Photo: Chris Hardy/San Francisco Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite his lack of experience, the choreographer demonstrates a remarkable facility for movement invention, as well as a mastery of stillness and austerity. Will we be seeing more from this young man, who clearly has a lot to say?\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>How to grow a choreographer\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It takes time for a choreographer to mature, and few professional ballet companies afford new dancemakers the luxury to fail in the current era of tight funding. It’s not a skill that can be taught, but rather a rare, innate talent that is cultivated through practice. You need far more young choreographers in the pipeline than we have now, because only a tiny percentage will grow up to be any good.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The world’s largest ballet companies do not systematically nurture new choreographers from within their ranks. Given the demands of the rehearsal process and the complexity of the artistic collaborations involved, the cost of mounting a new ballet can run from $100,000 into the millions for an evening-length production. Established choreographers, therefore, are an easier sell to backers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And yet there’s a compelling argument for ballet institutions to nurture inside talent from the ranks, for dancers often know their company peers better than the seasoned choreographers who jet from commission to commission. And fresh, young voices can do a lot to move the art form forwards in new and unpredictable ways. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11621465\" class=\"wp-caption alignnone\" style=\"max-width: 570px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11621465\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/2015-02-26-_ET39405-thumb.jpg\" alt=\"Norika Matsuyama and Steven Morse in Myles Thatcher's 'Manifesto' at San Francisco Ballet (Photo: Erik Tomasson)\" width=\"570\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2015-02-26-_ET39405-thumb.jpg 570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2015-02-26-_ET39405-thumb-400x267.jpg 400w\" sizes=\"(max-width: 570px) 100vw, 570px\">\u003cfigcaption class=\"wp-caption-text\">Norika Matsuyama and Steven Morse in Myles Thatcher’s ‘Manifesto’ at San Francisco Ballet (Photo: Erik Tomasson)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though few large companies have placed bets on inside talent, their scattered efforts have been quite well received by audiences. \u003c/span>\u003cspan style=\"font-weight: 400\">Christopher Wheeldon and Liam Scarlett retired from the stage as soloists with City Ballet and the Royal Ballet, respectively, to step into full-time choreographer jobs with those companies. \u003c/span> \u003cspan style=\"font-weight: 400\">New York City Ballet’s Justin Peck and SF Ballet’s Thatcher are rare examples of young \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">corps de ballet\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> dancers whose home companies have given them several shots at choreographing works. The National Ballet of Canada’s Robert Binet graduated from the company’s school directly into a choreographic post, nurtured by stints with the Royal Ballet, Hamburg’s National Youth Ballet and New York City Ballet. And fresh out of the Royal Ballet School last September, Charlotte Edmonds (at only 19 years of age) landed a choreographic apprenticeship carved especially for her by the Royal Ballet. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Whose job is it?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11621340\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11621340\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Hamburg-800x533.jpg\" alt=\"Patricia Friza in Aleix Martínez' 'Kleines Requiem,' from Hamburg Ballet's Young Choreographers 2016 program (Photo: Kiran West)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Friza in Aleix Martínez’ ‘Kleines Requiem,’ from Hamburg Ballet’s Young Choreographers 2016 program (Photo: Kiran West)\u003c/figcaption>\u003c/figure>\n\u003cp>With the exception of New York City Ballet’s ‘Choreographic Institute’ – which, starting in 2000, has given a handful of emerging choreographers two-week residencies – these opportunities remain, for the most part, sporadic. The Bolshoi Ballet has just selected nine participants, mostly Bolshoi dancers, for the first phase of a new choreographers program, spearheaded by departing artistic director Sergei Filin. Oregon Ballet Theatre launched \u003ca href=\"http://www.obt.org/index.php/choreography-xx/\">a competition\u003c/a> this year, exclusively aimed at female choreographers – \u003ca href=\"https://www.theguardian.com/stage/2016/jan/18/akram-khan-more-female-choreographers-for-the-sake-of-it-luke-jennings-reply\">a cohort that is shockingly under-represented\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11621468\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11621468 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-800x512.jpg\" alt=\"A scene from 'Hydragyrum' by Patricia Okenwa for Rambert Dance Company (Photo: Tristram Kenton) \" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-1920x1229.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Hydragyrum’ by Patricia Okenwa for Rambert Dance Company (Photo: Tristram Kenton)\u003c/figcaption>\u003c/figure>\n\u003cp>Some nimble and forward-thinking companies have been tackling the pipeline problem assiduously. For example, London’s Rambert Dance Company is known for nurturing choreographers internally, and has supported the creation of the New Movement Collective – a group of dance artists (mostly current or former Rambert dancers) who make site-specific works. \u003cspan style=\"font-weight: 400\">Out of Hamburg Ballet’s 60 dancers, 18 of them participated in this year’s Young Choreographers program. \u003c/span>And Les Grands Ballets Canadiens de Montreal organizes \u003cem>Les Ateliers Chorégraphiques\u003c/em>, programs that are entirely conceived, designed, publicized, and performed by a handful of company dancers.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To fill the choreographer pipeline is not only costly, but it also requires an appetite for risk. Few private donors are willing to throw that kind of money at emerging choreographers with potentially low batting averages. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11620425\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11620425 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-800x532.jpg\" alt=\"Amanda Treiber and the NYU Steel ensemble in Steven Melendez’ and Zhong-Jing Fang’s Song Before Spring for New York Theatre Ballet at New York Live Arts (Photo: Rachel Neville)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Treiber and the NYU Steel ensemble in Steven Melendez’ and Zhong-Jing Fang’s ‘Song Before Spring’ for New York Theatre Ballet at New York Live Arts (Photo: Rachel Neville)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But without nurturing dancemaking talent from within, companies risk a greater loss: an important opportunity for innovation and creativity. “\u003c/span>\u003cspan style=\"line-height: 1.5\">It seems like the priority today is to sell tickets using popular, well-known choreographers,” says Diana Byer, founder and artistic director of New York Theatre Ballet, whose company has been investing in new choreographers almost since its founding more than 30 years ago — and often to critical acclaim. “Companies need to find new ways to bring in audiences to see choreographers who are not prominent dancers, but who might have a vivid imagination in creating new work that doesn’t just mimic the great dancemakers who came before them.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Fists were flying and then bullets inside a crowded New York City concert venue where four people were shot, one fatally, and now a rapper who police say was seen on surveillance footage firing a gun is facing attempted murder and weapons charges.\u003c/p>\n\u003cp>Roland Collins, who goes by the stage name Troy Ave, was arrested Thursday, a day after the deadly shooting at Irving Plaza, where hip-hop artist T.I. was set to perform. Police said a fistfight had broken out in a performers’ lounge at the venue.\u003c/p>\n\u003cp>The man who died, 33-year-old Ronald McPhatter, was a member of Collins’ entourage and had been there to provide security, according to his family. Collins, 30, suffered a gunshot wound to the leg, police said.\u003c/p>\n\u003cp>An 8-second video clip released by police shows the gunman bursting through the door of a VIP room in apparent pursuit of another man, who flees off-screen.\u003c/p>\n\u003cp>As concertgoers huddle under a counter and clutch each other, the gunman, who appears to be limping, stops and scans the room for a moment with his eyes. Then, he spots something, raises his gun and fires.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Witnesses described a chaotic scene.\u003c/p>\n\u003cp>“Everyone was hysterical, I was having a panic attack during the shooting, and the woman next to me was covering my mouth with her hand to try to get me to stop screaming,” said Liv Hoffman, 19.\u003c/p>\n\u003cp>There were nearly 1,000 people in the venue when the shooting began. One of the victims, Christopher Vinson, 34, was shot in the chest on the venue’s ground level after a bullet traveled through the floor, Chief of Detectives Robert Boyce said. Another bystander, Maggie Heckstall, 26, was shot in the leg, authorities said.\u003c/p>\n\u003cp>The exact circumstances of what prompted the fight were still under investigation.\u003c/p>\n\u003cp>In an interview with WCBS radio, Police Commissioner William Bratton blamed the shootings on “the crazy world of the so-called rap artists who are basically thugs that basically celebrate the violence that they live all their lives.”\u003c/p>\n\u003cp>That prompted an angry response from McPhatter’s relatives and a city lawmaker, who derided the comments as insensitive and divisive.\u003c/p>\n\u003cp>“When white people are doing this violence, I don’t hear the same language being used,” said City Councilman Jumaane Williams, a Brooklyn Democrat who said he had worked on anti-violence initiatives with McPhatter and his older brother, Shanduke McPhatter, a former gang member.\u003c/p>\n\u003cp>Mayor Bill de Blasio said afterward he believed Bratton was “talking out of frustration.”\u003c/p>\n\u003cp>Collins was in custody and couldn’t be reached for comment Thursday. It was unclear if he had an attorney. A message left at a phone number listed for him wasn’t immediately returned.\u003c/p>\n\u003cp>Shanduke McPhatter said his brother “got too much into” the glamour of the hip-hop scene, and it landed him Wednesday night in an environment where alcohol flowed freely and trouble broke out.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Kiley Armstrong, Tom McElroy, Mesfin Fekadu, Jennifer Peltz and Michael Balsamo contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fists were flying and then bullets inside a crowded New York City concert venue where four people were shot, one fatally, and now a rapper who police say was seen on surveillance footage firing a gun is facing attempted murder and weapons charges.\u003c/p>\n\u003cp>Roland Collins, who goes by the stage name Troy Ave, was arrested Thursday, a day after the deadly shooting at Irving Plaza, where hip-hop artist T.I. was set to perform. Police said a fistfight had broken out in a performers’ lounge at the venue.\u003c/p>\n\u003cp>The man who died, 33-year-old Ronald McPhatter, was a member of Collins’ entourage and had been there to provide security, according to his family. Collins, 30, suffered a gunshot wound to the leg, police said.\u003c/p>\n\u003cp>An 8-second video clip released by police shows the gunman bursting through the door of a VIP room in apparent pursuit of another man, who flees off-screen.\u003c/p>\n\u003cp>As concertgoers huddle under a counter and clutch each other, the gunman, who appears to be limping, stops and scans the room for a moment with his eyes. Then, he spots something, raises his gun and fires.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Witnesses described a chaotic scene.\u003c/p>\n\u003cp>“Everyone was hysterical, I was having a panic attack during the shooting, and the woman next to me was covering my mouth with her hand to try to get me to stop screaming,” said Liv Hoffman, 19.\u003c/p>\n\u003cp>There were nearly 1,000 people in the venue when the shooting began. One of the victims, Christopher Vinson, 34, was shot in the chest on the venue’s ground level after a bullet traveled through the floor, Chief of Detectives Robert Boyce said. Another bystander, Maggie Heckstall, 26, was shot in the leg, authorities said.\u003c/p>\n\u003cp>The exact circumstances of what prompted the fight were still under investigation.\u003c/p>\n\u003cp>In an interview with WCBS radio, Police Commissioner William Bratton blamed the shootings on “the crazy world of the so-called rap artists who are basically thugs that basically celebrate the violence that they live all their lives.”\u003c/p>\n\u003cp>That prompted an angry response from McPhatter’s relatives and a city lawmaker, who derided the comments as insensitive and divisive.\u003c/p>\n\u003cp>“When white people are doing this violence, I don’t hear the same language being used,” said City Councilman Jumaane Williams, a Brooklyn Democrat who said he had worked on anti-violence initiatives with McPhatter and his older brother, Shanduke McPhatter, a former gang member.\u003c/p>\n\u003cp>Mayor Bill de Blasio said afterward he believed Bratton was “talking out of frustration.”\u003c/p>\n\u003cp>Collins was in custody and couldn’t be reached for comment Thursday. It was unclear if he had an attorney. A message left at a phone number listed for him wasn’t immediately returned.\u003c/p>\n\u003cp>Shanduke McPhatter said his brother “got too much into” the glamour of the hip-hop scene, and it landed him Wednesday night in an environment where alcohol flowed freely and trouble broke out.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Kiley Armstrong, Tom McElroy, Mesfin Fekadu, Jennifer Peltz and Michael Balsamo contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sfusd-hires-oakland-school-of-arts-director-to-lead-growing-arts-program",
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"content": "\u003cp>The San Francisco Unified School District announced last week it hired Donn Harris, currently director of the Oakland School of the Arts (OSA), to be its new executive director of art programs. \u003c/p>\n\u003cp>Harris, who is on the \u003ca href=\"http://www.cac.ca.gov/news/prdetail.php?id=161\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a>, was the director of the Ruth Asawa School of the Arts (now Asawa SOTA) for seven years before he was asked to be the OSA director in 2013 by then Oakland Mayor Jerry Brown. \u003c/p>\n\u003cp>Starting July 1, he will be the district’s Executive Director for Creativity and The Arts, and he’ll be tasked with ensuring equity and access to arts programs, as well as leading the development of the district’s $300 million arts center project.\u003c/p>\n\u003cfigure id=\"attachment_11620432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-800x450.jpg\" alt=\"A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11620432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA \u003ccite>(Graphic: Courtesy of SFUSD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco has invested in arts education to a degree unseen elsewhere in the nation. Creativity is clearly a core value of our city, and we have work ahead to infuse that spirit into the daily life of our schools: examining contemporary art forms that reflect students’ cultures and interests, and studying our arts ecosystem to determine how best to give students equal access to the art forms that inspire them,” Harris said in a \u003ca href=\"http://www.sfusd.edu/en/news/current-news/2016-news-archive/05/sfusd-hires-new-executive-director-for-creativity-and-the-arts.html\" target=\"_blank\" rel=\"noopener\">SFUSD press release\u003c/a>.\u003c/p>\n\u003cp>Managing the creation of the Arts Center over the next few years — a timetable for its construction has yet to be determined — will be a huge undertaking for Harris. The project, which was approved back in 2014, and will take over almost an entire city block and house both the Asawa SOTA and the Nourse Theater, still needs to raise much of its construction budget, which the district will do through an upcoming ballot measure and private donors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Unified School District announced last week it hired Donn Harris, currently director of the Oakland School of the Arts (OSA), to be its new executive director of art programs. \u003c/p>\n\u003cp>Harris, who is on the \u003ca href=\"http://www.cac.ca.gov/news/prdetail.php?id=161\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a>, was the director of the Ruth Asawa School of the Arts (now Asawa SOTA) for seven years before he was asked to be the OSA director in 2013 by then Oakland Mayor Jerry Brown. \u003c/p>\n\u003cp>Starting July 1, he will be the district’s Executive Director for Creativity and The Arts, and he’ll be tasked with ensuring equity and access to arts programs, as well as leading the development of the district’s $300 million arts center project.\u003c/p>\n\u003cfigure id=\"attachment_11620432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-800x450.jpg\" alt=\"A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11620432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA \u003ccite>(Graphic: Courtesy of SFUSD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco has invested in arts education to a degree unseen elsewhere in the nation. Creativity is clearly a core value of our city, and we have work ahead to infuse that spirit into the daily life of our schools: examining contemporary art forms that reflect students’ cultures and interests, and studying our arts ecosystem to determine how best to give students equal access to the art forms that inspire them,” Harris said in a \u003ca href=\"http://www.sfusd.edu/en/news/current-news/2016-news-archive/05/sfusd-hires-new-executive-director-for-creativity-and-the-arts.html\" target=\"_blank\" rel=\"noopener\">SFUSD press release\u003c/a>.\u003c/p>\n\u003cp>Managing the creation of the Arts Center over the next few years — a timetable for its construction has yet to be determined — will be a huge undertaking for Harris. The project, which was approved back in 2014, and will take over almost an entire city block and house both the Asawa SOTA and the Nourse Theater, still needs to raise much of its construction budget, which the district will do through an upcoming ballot measure and private donors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/05/TDL20160527.mp3\u003c/p>\n\u003c/aside>\n\u003cfigure id=\"attachment_11619760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11619760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-800x533.jpg\" alt=\"Karita Matilla in Jenufa at the Metropolitan Opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karita Matilla in Jenufa at the Metropolitan Opera \u003ccite>(Photo: Beatriz Schiller/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 27-July 2:\u003c/strong> San Francisco’s brief summer opera season opens with what one critic called “theatrical dynamite,” Calixto Bieito’s staging of Bizet’s \u003cem>Carmen\u003c/em> as a tale of masculine oppression set in post-Franco Spain. Then Verdi takes us back to 16th century Spain in his\u003ci> Don Carlo\u003c/i>, set during the inquisition, in which a king and his son vie for the same woman. Then Janáček’s Jenůfa returns, after too many seasons of neglect. The great Karita Mattila plays the step-mother with Malin Byström in the title role. Details for \u003cem>Carmen\u003c/em> are\u003ca href=\"http://sfopera.com/discover-opera/1516-season/carmen/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>; for \u003cem>Don Carlo \u003c/em>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/don-carlo/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>; and for \u003cem>Jenůfa \u003c/em>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/jenufa/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And if you’re daunted by opera prices, register for the July 2 \u003cem>San Francisco Opera at AT&T Park\u003c/em>, where you can watch a free live simulcast with about 20 thousand fellow music lovers. Details \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pxqcD2phP2g\u003c/p>\n\u003cp>\u003cstrong>June 2-16:\u003c/strong> The film festival that provides “a manageable amount of the truth” is back. The 15th annual SF Documentary Festival showcases 52 films. Opening night is \u003cem>It Ain’t Pretty, \u003c/em>about Northern California’s female big wave surfers. There’s also a pair of films on the politics of abortion; \u003cem>Ear Buds: The Podcasting Documentary \u003c/em>(self-explanatory); \u003cem>Between the Beats\u003c/em>, about the rave scene in San Francisco; and \u003cem>Tear the Roof Off: the Untold Story of Parliament Funkadelic\u003c/em>, and more. Details on showings at the Vogue, Roxie, and Great Star theaters are \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/100624271\u003c/p>\n\u003cp>\u003cstrong>June 2:\u003c/strong> The Stanford Laptop Orchestra (SLORK) neatly blends Stanford’s push for the arts with its reputation as a place for tech wizards. Founded by Assistant Professor Ge Wang, the ensemble plays original and wonderfully weird music that seem designed to induce ecstatic trance states. Stanford is now the oldest of 70 laptop orchestras around the country. Check out the \u003ca href=\"http://ww2.kqed.org/news/2015/04/25/behind-the-scenes-at-the-stanford-laptop-orchestra\" target=\"_blank\" rel=\"noopener\">KQED story by reporter April Dembosky \u003c/a>from last year. And details for SLORK’s season ending concert are \u003ca href=\"http://slork.stanford.edu/events/2016/spring/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11619886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11619886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/1142_MAN-800x534.jpg\" alt=\"James Carpenter as Beatrice and Stacy Ross as Benedick in California Shakespeare Theater's production of MUCH ADO ABOUT NOTHING, directed by Jackson Gay.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Carpenter as Beatrice and Stacy Ross as Benedick in California Shakespeare Theater’s production of MUCH ADO ABOUT NOTHING, directed by Jackson Gay. \u003ccite>(Photo: Alessandra Mello/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>California Shakespeare Theater’s new leader is in town. \u003ca href=\"http://www.calshakes.org/v4/aboutus/whoweare.html#jm\" target=\"_blank\" rel=\"noopener\">Artistic Director Eric Ting\u003c/a> takes over the company known for both its fresh productions of the classics and its world premieres. And Ting, a new play specialist who’s come to the East Bay from \u003ca href=\"http://www.longwharf.org/\" target=\"_blank\" rel=\"noopener\">The Longwharf Theater\u003c/a> in New Haven, Connecticut, says he plans to keep up the innovation begun by his predecessor Jon Moscone. “This idea of looking at these old stories as though they were new again. Looking at these old plays as if they were new plays was just a kind of remarkable opportunity.” Later this season Ting will direct a version of Shakespeare’s \u003ca href=\"https://tickets.calshakes.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Othello\u003c/em>\u003c/a> steeped in the politics of Islamophobia. The season has just opened with Shakespeare’s \u003cem>Much Ado About Nothing\u003c/em> as adapted by playwright Kenneth Lin and director Jackson Gay, and some gender reversals with Bay Area actors James Carpenter playing Beatrix and Stacy Ross playing Benedick. Details \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=DD950D7D-BE97-471D-B780-7EDB556DED0E\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MGs1-bfiYFQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 2-3:\u003c/strong> Comedian Tim Heidecker of \u003ca href=\"http://www.timanderic.com/\" target=\"_blank\" rel=\"noopener\">Tim and Eric\u003c/a> seems to be going all sincere on us here, with an album of throwback folk-rock about nice things, pleasant things — stuff like how cool it is to live in Glendale. Heidecker says he always liked to sing, and played in indie bands while living in Philadelphia. But take heart, the songs have a surreal or satiric edge as well, with titles like “Good Looking Babies” and “I Saw Nicolas Cage,” And check out the hilarious video above for “Work from Home.” Details for his show at \u003ca href=\"http://www.theindependentsf.com/event/1080749-tim-heidecker-his-ten-piece-san-francisco/\" target=\"_blank\" rel=\"noopener\">the Independent are here\u003c/a>. And he’s at Harlow’s in Sacramento June 3 , details \u003ca href=\"http://www.harlows.com/event/1089357-tim-heidecker-his-ten-piece-sacramento/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cfigure id=\"attachment_11619760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11619760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-800x533.jpg\" alt=\"Karita Matilla in Jenufa at the Metropolitan Opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karita Matilla in Jenufa at the Metropolitan Opera \u003ccite>(Photo: Beatriz Schiller/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 27-July 2:\u003c/strong> San Francisco’s brief summer opera season opens with what one critic called “theatrical dynamite,” Calixto Bieito’s staging of Bizet’s \u003cem>Carmen\u003c/em> as a tale of masculine oppression set in post-Franco Spain. Then Verdi takes us back to 16th century Spain in his\u003ci> Don Carlo\u003c/i>, set during the inquisition, in which a king and his son vie for the same woman. Then Janáček’s Jenůfa returns, after too many seasons of neglect. The great Karita Mattila plays the step-mother with Malin Byström in the title role. Details for \u003cem>Carmen\u003c/em> are\u003ca href=\"http://sfopera.com/discover-opera/1516-season/carmen/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>; for \u003cem>Don Carlo \u003c/em>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/don-carlo/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>; and for \u003cem>Jenůfa \u003c/em>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/jenufa/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And if you’re daunted by opera prices, register for the July 2 \u003cem>San Francisco Opera at AT&T Park\u003c/em>, where you can watch a free live simulcast with about 20 thousand fellow music lovers. Details \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pxqcD2phP2g'\n title='//www.youtube.com/embed/pxqcD2phP2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 2-16:\u003c/strong> The film festival that provides “a manageable amount of the truth” is back. The 15th annual SF Documentary Festival showcases 52 films. Opening night is \u003cem>It Ain’t Pretty, \u003c/em>about Northern California’s female big wave surfers. There’s also a pair of films on the politics of abortion; \u003cem>Ear Buds: The Podcasting Documentary \u003c/em>(self-explanatory); \u003cem>Between the Beats\u003c/em>, about the rave scene in San Francisco; and \u003cem>Tear the Roof Off: the Untold Story of Parliament Funkadelic\u003c/em>, and more. Details on showings at the Vogue, Roxie, and Great Star theaters are \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>June 2:\u003c/strong> The Stanford Laptop Orchestra (SLORK) neatly blends Stanford’s push for the arts with its reputation as a place for tech wizards. Founded by Assistant Professor Ge Wang, the ensemble plays original and wonderfully weird music that seem designed to induce ecstatic trance states. Stanford is now the oldest of 70 laptop orchestras around the country. Check out the \u003ca href=\"http://ww2.kqed.org/news/2015/04/25/behind-the-scenes-at-the-stanford-laptop-orchestra\" target=\"_blank\" rel=\"noopener\">KQED story by reporter April Dembosky \u003c/a>from last year. And details for SLORK’s season ending concert are \u003ca href=\"http://slork.stanford.edu/events/2016/spring/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11619886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11619886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/1142_MAN-800x534.jpg\" alt=\"James Carpenter as Beatrice and Stacy Ross as Benedick in California Shakespeare Theater's production of MUCH ADO ABOUT NOTHING, directed by Jackson Gay.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Carpenter as Beatrice and Stacy Ross as Benedick in California Shakespeare Theater’s production of MUCH ADO ABOUT NOTHING, directed by Jackson Gay. \u003ccite>(Photo: Alessandra Mello/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>California Shakespeare Theater’s new leader is in town. \u003ca href=\"http://www.calshakes.org/v4/aboutus/whoweare.html#jm\" target=\"_blank\" rel=\"noopener\">Artistic Director Eric Ting\u003c/a> takes over the company known for both its fresh productions of the classics and its world premieres. And Ting, a new play specialist who’s come to the East Bay from \u003ca href=\"http://www.longwharf.org/\" target=\"_blank\" rel=\"noopener\">The Longwharf Theater\u003c/a> in New Haven, Connecticut, says he plans to keep up the innovation begun by his predecessor Jon Moscone. “This idea of looking at these old stories as though they were new again. Looking at these old plays as if they were new plays was just a kind of remarkable opportunity.” Later this season Ting will direct a version of Shakespeare’s \u003ca href=\"https://tickets.calshakes.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Othello\u003c/em>\u003c/a> steeped in the politics of Islamophobia. The season has just opened with Shakespeare’s \u003cem>Much Ado About Nothing\u003c/em> as adapted by playwright Kenneth Lin and director Jackson Gay, and some gender reversals with Bay Area actors James Carpenter playing Beatrix and Stacy Ross playing Benedick. Details \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=DD950D7D-BE97-471D-B780-7EDB556DED0E\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Chechen strongman Ramzan Kadyrov and HBO host John Oliver are locked in a public spat over a lost cat.\u003c/p>\n\u003cp>First, Kadyrov — the leader of the Russian republic of Chechnya whose forces have been \u003ca href=\"https://www.hrw.org/news/2016/04/13/dispatches-price-dissent-chechnya\">accused of torture\u003c/a> — asked his 1.8 million Instagram followers for help finding his missing cat.\u003c/p>\n\u003cp>“We have completely lost our cat,” the staunch ally of Russian President Vladmir Putin posted, according to \u003ca href=\"http://www.theguardian.com/world/2016/may/20/chechen-leader-kadyrov-instagram-cat\" target=\"_blank\" rel=\"noopener\">a translation from \u003cem>The Guardian\u003c/em>\u003c/a>. “We have begun to seriously worry.” He appealed to his followers for any information about the feline’s whereabouts.\u003c/p>\n\u003cp>https://www.instagram.com/p/BFd2vWNiRul/\u003c/p>\n\u003cp>Then, Oliver picked up the news for a segment on his satirical current events show, \u003cem>Last Week Tonight with John Oliver\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oliver pokes fun at Kadyrov’s prolific Instagram feed, which, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/21/478968296/chechen-strongman-takes-to-instagram-to-search-for-his-lost-cat\" target=\"_blank\" rel=\"noopener\">as we reported\u003c/a>, runs the gamut from mundane to completely outrageous — including a video \u003ca href=\"https://www.instagram.com/p/71FvV0iRjq/\" target=\"_blank\" rel=\"noopener\">where he apparently wrestles a crocodile\u003c/a>, and a \u003ca href=\"https://www.instagram.com/p/3G06hziRmd/\" target=\"_blank\" rel=\"noopener\">trailer for a Hollywood-style action film\u003c/a> in which he stars. Kadyrov’s workout routine (mainly weightlifting and boxing) \u003ca href=\"https://www.instagram.com/p/BByQeDtiRgW/\" target=\"_blank\" rel=\"noopener\">is also a regular feature\u003c/a>.\u003c/p>\n\u003cp>“Kadyrov is basically like a can of Monster energy drink come to life,” Oliver says. “And honestly, I cannot recommend his Instagram feed enough.” He continues:\u003c/p>\n\u003cblockquote>\n\u003cp>“It almost makes you forget he was once accused of beating a prisoner with a shovel handle before executing him. Almost, but not quite.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Oliver’s conclusion: “For the good of the Chechen people and stability in the whole region, we have to find this f*****’s cat.” He urges viewers to join a campaign called #FindKadyrovsCat — basically designed to taunt the strongman by flooding him with pictures of random cats asking if they belong to him.\u003c/p>\n\u003cp>For example:\u003c/p>\n\u003cp>https://twitter.com/iamjohnoliver/status/734728962119770112\u003c/p>\n\u003cp>Oliver also points out that in picture after picture on his account, Kadyrov is wearing T-shirts adorned with images of Putin, like this one:\u003c/p>\n\u003cp>https://www.instagram.com/p/_UWFKhiRlI/\u003c/p>\n\u003cp>In response, the apparently incensed authoritarian leader altered Oliver’s picture to remove the cat and replace it with a Putin T-shirt.\u003c/p>\n\u003cp>https://www.instagram.com/p/BFwpvHMiRqM/\u003c/p>\n\u003cp>“I’m tired of jokes. I want to care for cats in Chechnya. By the way, Putin is our leader!” text on the photo reads.\u003c/p>\n\u003cp>Kadyrov says Oliver’s campaign prompted a big response. “I receive lots of photos. Some people say that they saw the cat in Vladivostok, Japan, Iceland, New Zealand, and even in the Oval Office of the White House!” the caption reads. He adds: “I am grateful to all, but this is NOT my cat.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Kadyrov downplayed concerns about the missing cat’s well-being, saying the cat leaves the house “in spring from time to time.” He explains:\u003c/p>\n\u003cblockquote>\n\u003cp>“He also needs to meet with friends, mingle and share news. By cat rumors he has in our district a familiar she-cat with which he’s going to start a family. I’m sure that after spring affairs, the cat will return to native walls. Perhaps, he’ll bring his sweet love with him.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+The+Cat%27s+Away%3A+Chechen+Strongman+Spars+With+John+Oliver+Over+Lost+Feline&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oliver pokes fun at Kadyrov’s prolific Instagram feed, which, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/21/478968296/chechen-strongman-takes-to-instagram-to-search-for-his-lost-cat\" target=\"_blank\" rel=\"noopener\">as we reported\u003c/a>, runs the gamut from mundane to completely outrageous — including a video \u003ca href=\"https://www.instagram.com/p/71FvV0iRjq/\" target=\"_blank\" rel=\"noopener\">where he apparently wrestles a crocodile\u003c/a>, and a \u003ca href=\"https://www.instagram.com/p/3G06hziRmd/\" target=\"_blank\" rel=\"noopener\">trailer for a Hollywood-style action film\u003c/a> in which he stars. Kadyrov’s workout routine (mainly weightlifting and boxing) \u003ca href=\"https://www.instagram.com/p/BByQeDtiRgW/\" target=\"_blank\" rel=\"noopener\">is also a regular feature\u003c/a>.\u003c/p>\n\u003cp>“Kadyrov is basically like a can of Monster energy drink come to life,” Oliver says. “And honestly, I cannot recommend his Instagram feed enough.” He continues:\u003c/p>\n\u003cblockquote>\n\u003cp>“It almost makes you forget he was once accused of beating a prisoner with a shovel handle before executing him. Almost, but not quite.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Oliver’s conclusion: “For the good of the Chechen people and stability in the whole region, we have to find this f*****’s cat.” He urges viewers to join a campaign called #FindKadyrovsCat — basically designed to taunt the strongman by flooding him with pictures of random cats asking if they belong to him.\u003c/p>\n\u003cp>For example:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>She called him “Mr. Cosby” and considered him a trusted friend and mentor.\u003c/p>\n\u003cp>But 20 minutes after Bill Cosby offered her three blue pills and told her to take them with the wine he had set out, Andrea Constand’s legs began to wobble “like jelly,” her eyes went blurry and her head began to throb.\u003c/p>\n\u003cp>Cosby helped her to a couch in his living room, where she later realized he violated her as she lay helplessly in a stupor, she told police in 2005.\u003c/p>\n\u003cp>[contextly_sidebar id=”xneQF7bLBpdeanaPIZsmFGV9z9uvDrDc”]\u003c/p>\n\u003cp>On Tuesday, a judge ordered the 78-year-old Cosby to stand trial on sexual assault charges on the strength of Constand’s decade-old police statement, sparing the former Temple University employee the need to testify at the preliminary hearing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby could get 10 years in prison if convicted in the case, the only criminal charges brought against the comedian out of the barrage of allegations that he drugged and molested dozens of women over five decades. He is free on $1 million bail.\u003c/p>\n\u003cp>A trial date was not immediately set.\u003c/p>\n\u003cp>Cosby, looking less frail than he did when he was arrested five months ago, seemed unfazed by District Judge Elizabeth McHugh’s decision.\u003c/p>\n\u003cp>“Mr. Cosby is not guilty of any crime, and not one single fact presented by the commonwealth rebuts this truth,” his lawyers said in a statement afterward.\u003c/p>\n\u003cp>The hearing was not the face-to-face confrontation between accuser and accused that some had anticipated: Constand, who is now a massage therapist in Toronto, was not in the courtroom, and the judge ruled that she did not have to testify at this stage. Instead, prosecutors had portions of her 2005 police statement read into the record.\u003c/p>\n\u003cp>While authorities in recent months have paraphrased her account and quoted fragments, this was apparently the first time that large sections of her statement — or Cosby’s, for that matter — were made public.\u003c/p>\n\u003cp>Constand told police that the comedian penetrated her with his fingers and fondled her at his suburban Philadelphia mansion in 2004 after giving her what he said was herbal medication. After taking the pills, she said, “everything was blurry and dizzy.”\u003c/p>\n\u003cp>“I told him, ‘I can’t even talk, Mr. Cosby.’ I started to panic,” she told police.\u003c/p>\n\u003cp>She said she awoke with her bra askew and did not remember undoing it.\u003c/p>\n\u003cp>Cosby’s lawyers argued unsuccessfully that having a police officer read Constand’s statement instead of putting her on the stand would be third-hand testimony and would deprive him of his right to confront his accuser. But reading a police statement into the record is common practice at preliminary hearings in Pennsylvania.\u003c/p>\n\u003cp>The defense also argued that Constand was having a relationship with a married man and that they had engaged in “petting” during her two or three earlier visits to his home.\u003c/p>\n\u003cp>In his own 2005 statement to police, excerpts of which were also read in court, Cosby said Constand never said “no” as he put his hand down her pants. He told police the pills were over-the-counter Benadryl that he takes to help him sleep.\u003c/p>\n\u003cp>Cosby attorney Brian McMonagle also questioned why Constand continued to see the comedian and even returned to the house to meet with him after the alleged assault.\u003c/p>\n\u003cp>In addition, the defense seized on discrepancies in the three police statements Constand gave, including her shifting memory of precisely when the encounter occurred.\u003c/p>\n\u003cp>Cosby settled with Constand for an undisclosed sum in 2006 after testifying behind closed doors about his extramarital affairs, his use of quaaludes to seduce women and his efforts to hide payments to former lovers from his wife.\u003c/p>\n\u003cp>But prosecutors reopened the criminal case last year after dozens of women leveled similar allegations and after Cosby’s sealed testimony in Constand’s lawsuit was made public.\u003c/p>\n\u003cp>Cosby’s lawyers are trying to get the case thrown out, arguing that a previous prosecutor made a binding promise a decade ago that the comic would never be charged.\u003c/p>\n\u003cp>He is also fighting defamation lawsuits across the country for allegedly branding his accusers liars and is trying to get his homeowner insurance to pay his legal bills.\u003c/p>\n\u003cp>The Associated Press does not normally identify people who say they were victims of sex crimes unless they agree to be named publicly, which Constand has done.\u003c/p>\n\u003cp>_____\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby could get 10 years in prison if convicted in the case, the only criminal charges brought against the comedian out of the barrage of allegations that he drugged and molested dozens of women over five decades. He is free on $1 million bail.\u003c/p>\n\u003cp>A trial date was not immediately set.\u003c/p>\n\u003cp>Cosby, looking less frail than he did when he was arrested five months ago, seemed unfazed by District Judge Elizabeth McHugh’s decision.\u003c/p>\n\u003cp>“Mr. Cosby is not guilty of any crime, and not one single fact presented by the commonwealth rebuts this truth,” his lawyers said in a statement afterward.\u003c/p>\n\u003cp>The hearing was not the face-to-face confrontation between accuser and accused that some had anticipated: Constand, who is now a massage therapist in Toronto, was not in the courtroom, and the judge ruled that she did not have to testify at this stage. Instead, prosecutors had portions of her 2005 police statement read into the record.\u003c/p>\n\u003cp>While authorities in recent months have paraphrased her account and quoted fragments, this was apparently the first time that large sections of her statement — or Cosby’s, for that matter — were made public.\u003c/p>\n\u003cp>Constand told police that the comedian penetrated her with his fingers and fondled her at his suburban Philadelphia mansion in 2004 after giving her what he said was herbal medication. After taking the pills, she said, “everything was blurry and dizzy.”\u003c/p>\n\u003cp>“I told him, ‘I can’t even talk, Mr. Cosby.’ I started to panic,” she told police.\u003c/p>\n\u003cp>She said she awoke with her bra askew and did not remember undoing it.\u003c/p>\n\u003cp>Cosby’s lawyers argued unsuccessfully that having a police officer read Constand’s statement instead of putting her on the stand would be third-hand testimony and would deprive him of his right to confront his accuser. But reading a police statement into the record is common practice at preliminary hearings in Pennsylvania.\u003c/p>\n\u003cp>The defense also argued that Constand was having a relationship with a married man and that they had engaged in “petting” during her two or three earlier visits to his home.\u003c/p>\n\u003cp>In his own 2005 statement to police, excerpts of which were also read in court, Cosby said Constand never said “no” as he put his hand down her pants. He told police the pills were over-the-counter Benadryl that he takes to help him sleep.\u003c/p>\n\u003cp>Cosby attorney Brian McMonagle also questioned why Constand continued to see the comedian and even returned to the house to meet with him after the alleged assault.\u003c/p>\n\u003cp>In addition, the defense seized on discrepancies in the three police statements Constand gave, including her shifting memory of precisely when the encounter occurred.\u003c/p>\n\u003cp>Cosby settled with Constand for an undisclosed sum in 2006 after testifying behind closed doors about his extramarital affairs, his use of quaaludes to seduce women and his efforts to hide payments to former lovers from his wife.\u003c/p>\n\u003cp>But prosecutors reopened the criminal case last year after dozens of women leveled similar allegations and after Cosby’s sealed testimony in Constand’s lawsuit was made public.\u003c/p>\n\u003cp>Cosby’s lawyers are trying to get the case thrown out, arguing that a previous prosecutor made a binding promise a decade ago that the comic would never be charged.\u003c/p>\n\u003cp>He is also fighting defamation lawsuits across the country for allegedly branding his accusers liars and is trying to get his homeowner insurance to pay his legal bills.\u003c/p>\n\u003cp>The Associated Press does not normally identify people who say they were victims of sex crimes unless they agree to be named publicly, which Constand has done.\u003c/p>\n\u003cp>_____\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nick Menza, former drummer for the influential metal band Megadeth, died after collapsing on stage during a performance of his progressive jazz trio in Southern California, a family spokesman said Sunday.\u003c/p>\n\u003cp>Menza’s latest band OHM was three songs into a semi-regular set at a Los Angeles-area club Saturday night when the drummer collapsed, J. Marshall Craig told The Associated Press. Friends and audience members rendered aid while paramedics were called.\u003c/p>\n\u003cp>The 51-year-old died at the club of a suspected massive heart attack, Craig said.\u003c/p>\n\u003cp>Menza was Megadeth’s longest-serving drummer, performing on five records over nine years, including 1990’s thrash metal landmark,\u003cem> Rust In Peace\u003c/em>.\u003c/p>\n\u003cp>Dave Mustaine, singer, guitarist and co-founder of Megadeth, said in a statement that he awoke to a text message from his son with the news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Shocked, devastated, and saddened don’t begin to describe my feelings,” Mustaine said.\u003c/p>\n\u003cp>“As a player, Nick had a very powerful jazzy flair, unpredictable and always entertaining, and as great a drummer as he was, the time spent with him as a person, a bandmate, and a friend was even more fun,” Mustaine’s statement said.\u003c/p>\n\u003cp>Marty Friedman, the band’s guitarist from 1990 to 2000, wrote on Facebook that Menza was “a great and unique drummer” and “a trustworthy friend, a hilarious bandmate, as well as a very loving dad.”\u003c/p>\n\u003cp>After leaving Megadeth in 1998, Menza pursued an interest in jazz and became an accomplished woodworker.\u003c/p>\n\u003cp>Mustaine said he discussed Menza returning to the band several times, “but for various reasons it never came together.”\u003c/p>\n\u003cp>Menza’s autobiography, co-written by Craig, will detail the drummer’s life in and out of music and is set for a July release.\u003c/p>\n\u003cp>He is survived by his mother and father, the jazz saxophonist Don Menza, and two sons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Shocked, devastated, and saddened don’t begin to describe my feelings,” Mustaine said.\u003c/p>\n\u003cp>“As a player, Nick had a very powerful jazzy flair, unpredictable and always entertaining, and as great a drummer as he was, the time spent with him as a person, a bandmate, and a friend was even more fun,” Mustaine’s statement said.\u003c/p>\n\u003cp>Marty Friedman, the band’s guitarist from 1990 to 2000, wrote on Facebook that Menza was “a great and unique drummer” and “a trustworthy friend, a hilarious bandmate, as well as a very loving dad.”\u003c/p>\n\u003cp>After leaving Megadeth in 1998, Menza pursued an interest in jazz and became an accomplished woodworker.\u003c/p>\n\u003cp>Mustaine said he discussed Menza returning to the band several times, “but for various reasons it never came together.”\u003c/p>\n\u003cp>Menza’s autobiography, co-written by Craig, will detail the drummer’s life in and out of music and is set for a July release.\u003c/p>\n\u003cp>He is survived by his mother and father, the jazz saxophonist Don Menza, and two sons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bill Cosby has lost a bid to delay a key hearing Tuesday in his criminal sex-assault case.\u003c/p>\n\u003cp>The Pennsylvania Supreme Court has refused to grant a delay while Cosby tries again to have the case thrown out.\u003c/p>\n\u003cp>The 78-year-old entertainer is appealing a ruling that upheld charges based on his 2004 encounter with a Temple University employee.\u003c/p>\n\u003cp>Cosby believes he has a deal with a former prosecutor that he could never be charged in the case. He says that’s why he testified in the woman’s civil lawsuit.\u003c/p>\n\u003cp>The Supreme Court order Monday does not say if the appeal is still being considered. But the order denies Cosby’s bid to postpone Tuesday’s preliminary hearing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The hearing will determine if prosecutors have enough evidence to send the case to trial.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bill Cosby has lost a bid to delay a key hearing Tuesday in his criminal sex-assault case.\u003c/p>\n\u003cp>The Pennsylvania Supreme Court has refused to grant a delay while Cosby tries again to have the case thrown out.\u003c/p>\n\u003cp>The 78-year-old entertainer is appealing a ruling that upheld charges based on his 2004 encounter with a Temple University employee.\u003c/p>\n\u003cp>Cosby believes he has a deal with a former prosecutor that he could never be charged in the case. He says that’s why he testified in the woman’s civil lawsuit.\u003c/p>\n\u003cp>The Supreme Court order Monday does not say if the appeal is still being considered. But the order denies Cosby’s bid to postpone Tuesday’s preliminary hearing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Stanford has appointed Chris Lorway as the new executive director of \u003ca href=\"https://live.stanford.edu/\">Stanford Live\u003c/a> and \u003ca href=\"http://live.stanford.edu/plan-your-visit/venues/bing-concert-hall\">Bing Concert Hall\u003c/a>, the university’s main cultural presenting organization and venue.\u003c/p>\n\u003cp>The role is a key one on the Bay Area cultural scene: Stanford Live is one of the most well-respected university-based arts presenters in the United States, and the Bing Concert Hall, which opened in January 2013 and cost more than $110 million to build, is Silicon Valley’s most prominent classical music venue.\u003c/p>\n\u003cp>Lorway comes to Stanford from his role as director of programming and marketing at \u003ca href=\"http://www.masseyhall.com/venues\">Massey Hall and Roy Thomson Hall\u003c/a> in Toronto, home of the Toronto Symphony Orchestra and the Toronto International Film Festival. Before that, he was the executive director of \u003ca href=\"https://www.soundstreams.ca/\">Soundstreams\u003c/a>, a Toronto-based music presenter of contemporary composers. Additional career credits include the Lincoln Center Festival, The New Yorker Festival, and Toronto’s \u003ca href=\"https://luminatofestival.com/\">Luminato Festival\u003c/a>, where he served as founding artistic director.\u003c/p>\n\u003cfigure id=\"attachment_11594125\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11594125\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-400x600.jpg\" alt=\"Chris Lowery, the incoming head of Stanford Live and Bing Concert Hall\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-960x1440.jpg 960w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Lorway, the incoming head of Stanford Live and Bing Concert Hall \u003ccite>(Photo: Courtesy of Stanford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As Stanford Live approached its fifth season, we sought leadership with a long-term vision,” says Leslie Hume, co-chair of the Stanford Live Advisory Council, and co-chair of the search committee for Lorway’s position. “A compelling depth and breadth of experience in performing arts presentation, an excitement about exploring an expansive diversity of music and a creative approach to engaging new audiences were key criteria.”\u003c/p>\n\u003cp>Lorway is hopeful the university-based audience will have an appetite for challenging work. But he’s also interested in maintaining a balance between difficult and more accessible art. “Every season has to be about balance,” Lorway says. “You try to find things that are going to challenge your audience, but you also find things that you know are going to excite people, things that they really want to see.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lorway describes his approach to programming as one that might include balancing appearances by internationally-famed artists like cellist \u003ca href=\"http://www.yo-yoma.com/\" target=\"_blank\" rel=\"noopener\">Yo-Yo Ma\u003c/a> and comedian/singer \u003ca href=\"https://www.facebook.com/kristinchenoweth\" target=\"_blank\" rel=\"noopener\">Kristin Chenoweth\u003c/a>, with lesser known, boundary-pushing creatives such as choreographer \u003ca href=\"http://www.keigwinandcompany.com/larry-keigwin/\" target=\"_blank\" rel=\"noopener\">Larry Keigwin\u003c/a> who recruits civilians to participate in performances. “That’s a way of defining our region and articulating who we are as a people,” Lorway says.\u003c/p>\n\u003cp>The incoming director also says he’s keen to make use of the space outside the concert hall. “There are so many opportunities for the arts to spill out onto the campus to create unexpected encounters with art,” Lorway says.\u003c/p>\n\u003cp>[contextly_sidebar id=”WonCOffP7HIHoYQn6dWUyvnN0SECfyrl”]Lorway succeeds \u003ca href=\"http://news.stanford.edu/news/2013/july/qanda-wiley-hausam-072513.html\">Wiley Hausam\u003c/a>, who left Stanford last October. In the intervening months, Matthew Tiews, Stanford’s associate dean for the advancement of the arts, and Laura Evans, director of music programs, have kept things going at Stanford Live and the Bing Concert Hall.\u003c/p>\n\u003cp>Michael Zwiebach, editor of \u003ca href=\"https://www.sfcv.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Classical Voice\u003c/a>, says “On the face of it, [Lorway is] a very positive choice. Stanford Live has been a bit lackluster for the past few seasons since the incomparable Jenny Bilfield moved on to Washington.” He adds, “By resume and reputation, Lorway seems more like the kind of director who could develop a powerful artistic vision for the organization.”\u003c/p>\n\u003cp>Lowery’s tenure at Stanford begins in late summer, in time for the start of the 2016-17 season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stanford has appointed Chris Lorway as the new executive director of \u003ca href=\"https://live.stanford.edu/\">Stanford Live\u003c/a> and \u003ca href=\"http://live.stanford.edu/plan-your-visit/venues/bing-concert-hall\">Bing Concert Hall\u003c/a>, the university’s main cultural presenting organization and venue.\u003c/p>\n\u003cp>The role is a key one on the Bay Area cultural scene: Stanford Live is one of the most well-respected university-based arts presenters in the United States, and the Bing Concert Hall, which opened in January 2013 and cost more than $110 million to build, is Silicon Valley’s most prominent classical music venue.\u003c/p>\n\u003cp>Lorway comes to Stanford from his role as director of programming and marketing at \u003ca href=\"http://www.masseyhall.com/venues\">Massey Hall and Roy Thomson Hall\u003c/a> in Toronto, home of the Toronto Symphony Orchestra and the Toronto International Film Festival. Before that, he was the executive director of \u003ca href=\"https://www.soundstreams.ca/\">Soundstreams\u003c/a>, a Toronto-based music presenter of contemporary composers. Additional career credits include the Lincoln Center Festival, The New Yorker Festival, and Toronto’s \u003ca href=\"https://luminatofestival.com/\">Luminato Festival\u003c/a>, where he served as founding artistic director.\u003c/p>\n\u003cfigure id=\"attachment_11594125\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11594125\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-400x600.jpg\" alt=\"Chris Lowery, the incoming head of Stanford Live and Bing Concert Hall\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-960x1440.jpg 960w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Lorway, the incoming head of Stanford Live and Bing Concert Hall \u003ccite>(Photo: Courtesy of Stanford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As Stanford Live approached its fifth season, we sought leadership with a long-term vision,” says Leslie Hume, co-chair of the Stanford Live Advisory Council, and co-chair of the search committee for Lorway’s position. “A compelling depth and breadth of experience in performing arts presentation, an excitement about exploring an expansive diversity of music and a creative approach to engaging new audiences were key criteria.”\u003c/p>\n\u003cp>Lorway is hopeful the university-based audience will have an appetite for challenging work. But he’s also interested in maintaining a balance between difficult and more accessible art. “Every season has to be about balance,” Lorway says. “You try to find things that are going to challenge your audience, but you also find things that you know are going to excite people, things that they really want to see.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lorway describes his approach to programming as one that might include balancing appearances by internationally-famed artists like cellist \u003ca href=\"http://www.yo-yoma.com/\" target=\"_blank\" rel=\"noopener\">Yo-Yo Ma\u003c/a> and comedian/singer \u003ca href=\"https://www.facebook.com/kristinchenoweth\" target=\"_blank\" rel=\"noopener\">Kristin Chenoweth\u003c/a>, with lesser known, boundary-pushing creatives such as choreographer \u003ca href=\"http://www.keigwinandcompany.com/larry-keigwin/\" target=\"_blank\" rel=\"noopener\">Larry Keigwin\u003c/a> who recruits civilians to participate in performances. “That’s a way of defining our region and articulating who we are as a people,” Lorway says.\u003c/p>\n\u003cp>The incoming director also says he’s keen to make use of the space outside the concert hall. “There are so many opportunities for the arts to spill out onto the campus to create unexpected encounters with art,” Lorway says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>Lorway succeeds \u003ca href=\"http://news.stanford.edu/news/2013/july/qanda-wiley-hausam-072513.html\">Wiley Hausam\u003c/a>, who left Stanford last October. In the intervening months, Matthew Tiews, Stanford’s associate dean for the advancement of the arts, and Laura Evans, director of music programs, have kept things going at Stanford Live and the Bing Concert Hall.\u003c/p>\n\u003cp>Michael Zwiebach, editor of \u003ca href=\"https://www.sfcv.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Classical Voice\u003c/a>, says “On the face of it, [Lorway is] a very positive choice. Stanford Live has been a bit lackluster for the past few seasons since the incomparable Jenny Bilfield moved on to Washington.” He adds, “By resume and reputation, Lorway seems more like the kind of director who could develop a powerful artistic vision for the organization.”\u003c/p>\n\u003cp>Lowery’s tenure at Stanford begins in late summer, in time for the start of the 2016-17 season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From the outside, it looked like any of the other mugs in the Auschwitz museum.\u003c/p>\n\u003cp>But on the inside, this one had a secret — faithfully kept for seven decades.\u003c/p>\n\u003cp>A false bottom concealed a gold necklace and a gold ring inlaid with stones.\u003c/p>\n\u003cp>The enameled mug was one of more than 12,000 pieces of kitchenware that Nazis stole from people sent to the Auschwitz concentration camp in occupied Poland.\u003c/p>\n\u003cp>“The Germans incessantly lied to the Jews deported for extermination,” Dr. Piotr M.A. Cywinski, the director of the Auschwitz-Birkenau State Museum, \u003ca href=\"http://auschwitz.org/en/museum/news/gold-ring-found-under-a-double-bottom-after-more-than-70-years,1200.html\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a>. “They were told about resettlement, work and life in a different location.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the Nazis would allow Jews to take only a small amount of luggage. It was a calculated move: If you were going to start a new life, and could only take a small bag, you’d fill it with your most precious possessions.\u003c/p>\n\u003cp>So when a victim arrived at Auschwitz, the Germans could be confident they’d be able to loot their luggage and find valuables.\u003c/p>\n\u003cfigure id=\"attachment_11608014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg\" alt=\" Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11608014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s \u003ccite>(Photo: Marcin Inglot/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Victims often tried to hide costly possessions from sight.\u003c/p>\n\u003cp>On one hand, Cywinski says, that’s proof that Jewish families were well aware that their belongings would be looted during their deportation.\u003c/p>\n\u003cp>But it’s also a heartbreaking reminder of how much people didn’t know about the fate they faced at Auschwitz.\u003c/p>\n\u003cp>Every effort to hide valuables “shows that the Jewish families constantly had a ray of hope that these items will be required for their existence,” Cywinski says.\u003c/p>\n\u003cfigure id=\"attachment_11608015\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg\" alt=\"An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11608015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years. \u003ccite>(Photo: Courtesy of Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Despite the passage of more than 70 years since the liberation of the German Nazi concentration and extermination camp, there are still cases of accidental discovery of objects hidden by the victims,” the museum statement read.\u003c/p>\n\u003cp>And that’s what happened with the mug, which was being examined as part of routine work at the museum when the false bottom was discovered.\u003c/p>\n\u003cp>Beneath, there was a necklace coiled in a circle and wrapped in canvas, and a ring with some stones remaining in the setting.\u003c/p>\n\u003cp>“It was very well hidden, however, due to the passage of time, the materials underwent gradual degradation, and the second bottom separated from the mug,” Hanna Kubik of the Memorial Collections said in the museum’s statement.\u003c/p>\n\u003cp>The museum says that while every find is “carefully documented,” it is often impossible to connect a personal item to the victim who owned it because of a a lack of identifying characteristics.\u003c/p>\n\u003cfigure id=\"attachment_11608016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg\" alt=\"The necklace was carefully wrapped in canvas before being concealed in the mug\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11608016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The necklace was carefully wrapped in canvas before being concealed in the mug \u003ccite>(Courtesy of Mirosław Maciaszczyk/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The jewellery found in the mug will be stored in the Collections of the Museum in the form reflecting the manner in which it had been hidden by the owner, as a testimony to the fate of the Jews deported to the German Nazi concentration and extermination camp,” the museum writes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than 1 million prisoners, mostly Jews, died at Auschwitz during the Holocaust. \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=For+70+Years%2C+A+Mug+In+Auschwitz+Held+A+Secret+Treasure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the outside, it looked like any of the other mugs in the Auschwitz museum.\u003c/p>\n\u003cp>But on the inside, this one had a secret — faithfully kept for seven decades.\u003c/p>\n\u003cp>A false bottom concealed a gold necklace and a gold ring inlaid with stones.\u003c/p>\n\u003cp>The enameled mug was one of more than 12,000 pieces of kitchenware that Nazis stole from people sent to the Auschwitz concentration camp in occupied Poland.\u003c/p>\n\u003cp>“The Germans incessantly lied to the Jews deported for extermination,” Dr. Piotr M.A. Cywinski, the director of the Auschwitz-Birkenau State Museum, \u003ca href=\"http://auschwitz.org/en/museum/news/gold-ring-found-under-a-double-bottom-after-more-than-70-years,1200.html\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a>. “They were told about resettlement, work and life in a different location.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the Nazis would allow Jews to take only a small amount of luggage. It was a calculated move: If you were going to start a new life, and could only take a small bag, you’d fill it with your most precious possessions.\u003c/p>\n\u003cp>So when a victim arrived at Auschwitz, the Germans could be confident they’d be able to loot their luggage and find valuables.\u003c/p>\n\u003cfigure id=\"attachment_11608014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg\" alt=\" Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11608014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s \u003ccite>(Photo: Marcin Inglot/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Victims often tried to hide costly possessions from sight.\u003c/p>\n\u003cp>On one hand, Cywinski says, that’s proof that Jewish families were well aware that their belongings would be looted during their deportation.\u003c/p>\n\u003cp>But it’s also a heartbreaking reminder of how much people didn’t know about the fate they faced at Auschwitz.\u003c/p>\n\u003cp>Every effort to hide valuables “shows that the Jewish families constantly had a ray of hope that these items will be required for their existence,” Cywinski says.\u003c/p>\n\u003cfigure id=\"attachment_11608015\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg\" alt=\"An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11608015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years. \u003ccite>(Photo: Courtesy of Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Despite the passage of more than 70 years since the liberation of the German Nazi concentration and extermination camp, there are still cases of accidental discovery of objects hidden by the victims,” the museum statement read.\u003c/p>\n\u003cp>And that’s what happened with the mug, which was being examined as part of routine work at the museum when the false bottom was discovered.\u003c/p>\n\u003cp>Beneath, there was a necklace coiled in a circle and wrapped in canvas, and a ring with some stones remaining in the setting.\u003c/p>\n\u003cp>“It was very well hidden, however, due to the passage of time, the materials underwent gradual degradation, and the second bottom separated from the mug,” Hanna Kubik of the Memorial Collections said in the museum’s statement.\u003c/p>\n\u003cp>The museum says that while every find is “carefully documented,” it is often impossible to connect a personal item to the victim who owned it because of a a lack of identifying characteristics.\u003c/p>\n\u003cfigure id=\"attachment_11608016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg\" alt=\"The necklace was carefully wrapped in canvas before being concealed in the mug\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11608016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The necklace was carefully wrapped in canvas before being concealed in the mug \u003ccite>(Courtesy of Mirosław Maciaszczyk/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The jewellery found in the mug will be stored in the Collections of the Museum in the form reflecting the manner in which it had been hidden by the owner, as a testimony to the fate of the Jews deported to the German Nazi concentration and extermination camp,” the museum writes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than 1 million prisoners, mostly Jews, died at Auschwitz during the Holocaust. \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=For+70+Years%2C+A+Mug+In+Auschwitz+Held+A+Secret+Treasure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Peek Into the CIA Art Gallery Reveals [REDACTED]",
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"content": "\u003cp>A new oil painting has just arrived in what may be the world’s most clandestine art gallery — the fine arts collection at the headquarters of the Central Intelligence Agency.\u003c/p>\n\u003cp>This commissioned work isn’t your typical still life; the tableau is a busy clutter of gear — photos, blueprints, weapons and ammunition.\u003c/p>\n\u003cp>CIA museum director Toni Hiley says this painting — the 21st in the collection — is purposely complex. \u003ca href=\"https://www.cia.gov/news-information/featured-story-archive/2016-featured-story-archive/contingency-for-every-action-painting.html\" target=\"_blank\" rel=\"noopener\">A Contingency for Every Action\u003c/a> shows artifacts from major covert actions going back to World War II. “It’s what we call an Easter egg painting,” Hiley says. She calls it an “Easter egg” because nestled within are little hints from missions that are still classified.\u003c/p>\n\u003cp>Unless you’re a CIA officer, you’ll probably never get to see the painting in person. Which might make you wonder: Why does the CIA have an art gallery at all?\u003c/p>\n\u003cfigure id=\"attachment_11601994\" class=\"wp-caption aligncenter\" style=\"max-width: 687px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-687x600.jpg\" alt='\"ARGO — The Rescue of the Canadian Six\" was painted by an undercover CIA employee. It depicts an operation in which six Americans (\"The Canadian Six\") were rescued after the U.S. embassy in Tehran was taken over in 1979.' width=\"687\" height=\"600\" class=\"size-medium wp-image-11601994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-687x600.jpg 687w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-400x349.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-768x670.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-1180x1030.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-1920x1676.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-960x838.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9.jpg 2000w\" sizes=\"(max-width: 687px) 100vw, 687px\">\u003cfigcaption class=\"wp-caption-text\">“ARGO — The Rescue of the Canadian Six” was painted by an undercover CIA employee. It depicts an operation in which six Americans (“The Canadian Six”) were rescued after the U.S. embassy in Tehran was taken over in 1979. \u003ccite>(Photo: Courtesy of CIA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The CIA’s mission “is to go where others cannot go,” Hiley tells NPR’s Mary Louise Kelly. The museum’s collection \u003ca href=\"https://www.cia.gov/about-cia/cia-museum/experience-the-collection/index.html#!/collection\" target=\"_blank\" rel=\"noopener\">(which you can browse here)\u003c/a> is full of equipment, clothing and correspondence that go all the way back to the CIA’s predecessor, the OSS. But the museum can’t always rely on artifacts to tell the full story. “We don’t always have artifacts to act as the portal to get us to that particular part of our history,” Hiley explains.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, the museum commissions historical paintings that help ensure that new CIA employees have an opportunity to learn about the past. “Our workforce is a young workforce,” Hiley explains. “Fifty-two percent of our officers have joined since 9/11, and it’s absolutely critical that they understand where we’ve come from as an agency so they can lead us to where we will go.”\u003c/p>\n\u003cp>Some of the paintings recall dark times in CIA history. One work pays tribute to four B26 pilots who lost their lives in the 1961 Bay of Pigs Invasion. Hiley says it’s possible to find pride even in failed operations. “We’re proud of the four pilots we lost, we’re proud that we did what the president asked us to do,” she says. ” … Part of our pride is acknowledging our mistakes and learning from them.”\u003c/p>\n\u003cp>Hiley hasn’t commissioned a painting on Iraq yet, but she says “we’ve done a strategic plan on the collection, and we’re very busy trying to fill in gaps.”\u003c/p>\n\u003cfigure id=\"attachment_11602002\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/CIA-Art2.jpg\" alt='\"Cast of a Few, Courage of a Nation\" by James Dietz depicts early CIA operations in Afghanistan just after the Sept. 11 attacks.' width=\"700\" height=\"393\" class=\"size-full wp-image-11602002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/CIA-Art2.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/CIA-Art2-400x225.jpg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">“Cast of a Few, Courage of a Nation” by James Dietz depicts early CIA operations in Afghanistan just after the Sept. 11 attacks. \u003ccite>(Photo: Courtesy of CIA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Want to see more? You can browse through more \u003ca href=\"https://www.cia.gov/about-cia/cia-museum/experience-the-collection/\" target=\"_blank\" rel=\"noopener\">CIA art and artifacts here.\u003c/a>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Peek+Into+The+CIA+Art+Gallery+Reveals+%5BREDACTED%5D&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new oil painting has just arrived in what may be the world’s most clandestine art gallery — the fine arts collection at the headquarters of the Central Intelligence Agency.\u003c/p>\n\u003cp>This commissioned work isn’t your typical still life; the tableau is a busy clutter of gear — photos, blueprints, weapons and ammunition.\u003c/p>\n\u003cp>CIA museum director Toni Hiley says this painting — the 21st in the collection — is purposely complex. \u003ca href=\"https://www.cia.gov/news-information/featured-story-archive/2016-featured-story-archive/contingency-for-every-action-painting.html\" target=\"_blank\" rel=\"noopener\">A Contingency for Every Action\u003c/a> shows artifacts from major covert actions going back to World War II. “It’s what we call an Easter egg painting,” Hiley says. She calls it an “Easter egg” because nestled within are little hints from missions that are still classified.\u003c/p>\n\u003cp>Unless you’re a CIA officer, you’ll probably never get to see the painting in person. Which might make you wonder: Why does the CIA have an art gallery at all?\u003c/p>\n\u003cfigure id=\"attachment_11601994\" class=\"wp-caption aligncenter\" style=\"max-width: 687px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-687x600.jpg\" alt='\"ARGO — The Rescue of the Canadian Six\" was painted by an undercover CIA employee. It depicts an operation in which six Americans (\"The Canadian Six\") were rescued after the U.S. embassy in Tehran was taken over in 1979.' width=\"687\" height=\"600\" class=\"size-medium wp-image-11601994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-687x600.jpg 687w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-400x349.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-768x670.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-1180x1030.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-1920x1676.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-960x838.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9.jpg 2000w\" sizes=\"(max-width: 687px) 100vw, 687px\">\u003cfigcaption class=\"wp-caption-text\">“ARGO — The Rescue of the Canadian Six” was painted by an undercover CIA employee. It depicts an operation in which six Americans (“The Canadian Six”) were rescued after the U.S. embassy in Tehran was taken over in 1979. \u003ccite>(Photo: Courtesy of CIA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The CIA’s mission “is to go where others cannot go,” Hiley tells NPR’s Mary Louise Kelly. The museum’s collection \u003ca href=\"https://www.cia.gov/about-cia/cia-museum/experience-the-collection/index.html#!/collection\" target=\"_blank\" rel=\"noopener\">(which you can browse here)\u003c/a> is full of equipment, clothing and correspondence that go all the way back to the CIA’s predecessor, the OSS. But the museum can’t always rely on artifacts to tell the full story. “We don’t always have artifacts to act as the portal to get us to that particular part of our history,” Hiley explains.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, the museum commissions historical paintings that help ensure that new CIA employees have an opportunity to learn about the past. “Our workforce is a young workforce,” Hiley explains. “Fifty-two percent of our officers have joined since 9/11, and it’s absolutely critical that they understand where we’ve come from as an agency so they can lead us to where we will go.”\u003c/p>\n\u003cp>Some of the paintings recall dark times in CIA history. One work pays tribute to four B26 pilots who lost their lives in the 1961 Bay of Pigs Invasion. Hiley says it’s possible to find pride even in failed operations. “We’re proud of the four pilots we lost, we’re proud that we did what the president asked us to do,” she says. ” … Part of our pride is acknowledging our mistakes and learning from them.”\u003c/p>\n\u003cp>Hiley hasn’t commissioned a painting on Iraq yet, but she says “we’ve done a strategic plan on the collection, and we’re very busy trying to fill in gaps.”\u003c/p>\n\u003cfigure id=\"attachment_11602002\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/CIA-Art2.jpg\" alt='\"Cast of a Few, Courage of a Nation\" by James Dietz depicts early CIA operations in Afghanistan just after the Sept. 11 attacks.' width=\"700\" height=\"393\" class=\"size-full wp-image-11602002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/CIA-Art2.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/CIA-Art2-400x225.jpg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">“Cast of a Few, Courage of a Nation” by James Dietz depicts early CIA operations in Afghanistan just after the Sept. 11 attacks. \u003ccite>(Photo: Courtesy of CIA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Want to see more? You can browse through more \u003ca href=\"https://www.cia.gov/about-cia/cia-museum/experience-the-collection/\" target=\"_blank\" rel=\"noopener\">CIA art and artifacts here.\u003c/a>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Peek+Into+The+CIA+Art+Gallery+Reveals+%5BREDACTED%5D&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In any given week, teams of high-priced lawyers fan out across the country to defend Bill Cosby amid a cascade of sexual assault allegations, defamation claims and insurance disputes.\u003c/p>\n\u003cp>The disgraced TV star is spending millions in a frenzied bid not just to stay out of prison but to salvage what is left of his reputation. Legal experts say he has nothing to lose.\u003c/p>\n\u003cp>“This thing’s going to be tied up in litigation anyway, so you might as well look like you’re the aggrieved party,” said Professor Laurie Levenson of Loyola Law School in Los Angeles. “The best defense is a good offense.”\u003c/p>\n\u003cp>The biggest threat facing the comedian is the lone criminal case against him, involving allegations he drugged and sexually violated Andrea Constand at his suburban Philadelphia home more than a decade ago. Cosby, 78, could get 10 years in prison if convicted.\u003c/p>\n\u003cp>Unless he can convince the Pennsylvania Supreme Court that a previous district attorney made a binding promise that Cosby would never be prosecuted, the comic and his cadre of high-priced litigators will be back in court Tuesday for his long-delayed preliminary hearing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby also is contending with two sexual assault lawsuits, two disputes over whether his homeowner policies should cover his legal expenses, and a dozen defamation claims brought by women who came forward too late to sue over sexual assault but say they were smeared by Cosby or his representatives.\u003c/p>\n\u003cp>The criminal and civil cases have generated countless spinoff battles over such things as whether Cosby’s wife can be questioned at a deposition and whether Constand’s recent cooperation with police violated the confidentiality agreement surrounding the financial settlement she reached with Cosby in 2006.\u003c/p>\n\u003cp>The lawsuits stretch from Los Angeles to Pittsburgh to Worcester, Massachusetts, not too far from where Cosby and his wife, Camille, have a home. In the past two years alone, some two dozen Cosby lawyers have done his bidding in a variety of courts, arguing in front of local magistrates, a state supreme court and federal appeals court judges.\u003c/p>\n\u003cp>His attorneys have flown from California to Philadelphia, for example, for a brief hearing over who can see the file from Constand’s original 2005 police complaint. And they have gathered from Los Angeles, Washington and Philadelphia to pack the defense table for the so-far unsuccessful bid to get the criminal charges thrown out over the purported non-prosecution agreement.\u003c/p>\n\u003cp>“I’m sure he’s angry that he thought he made a deal with someone … and then all of a sudden the whole thing blows up on him and his whole reputation is ruined,” said celebrity lawyer Larry R. Feldman of Los Angeles, who is not involved in the Cosby case but represented a 13-year-old who sued Michael Jackson. “I’m not worried about him financially, but nobody at this stage of his life and his career, I’m sure, wants to be defending these types of claims.”\u003c/p>\n\u003cp>Joseph Cammarata, a lawyer for seven women suing Cosby in Massachusetts, said he isn’t concerned about the size of Cosby’s legal team, which he jokingly called an “economic recovery plan for lawyers.”\u003c/p>\n\u003cp>“Only one person can speak at a time. In no way, shape or form do I think I am at a disadvantage,” Cammarata said.\u003c/p>\n\u003cp>A spokesman for the legal team, Andrew Wyatt, told The Associated Press that none of the lawyers could comment on the scope of Cosby’s legal battles. However, Cammarata said in court that he was told that Cosby’s insurance company shelled out $2 million in one 15-month period for Cosby’s legal bills in his case alone.\u003c/p>\n\u003cp>Cosby’s insurer, AIG, is fighting Cosby’s efforts to have two $1 million homeowner policies, along with $35 million in excess liability coverage, kick in. AIG argues that its policies exclude coverage for sexual assault cases; Cosby’s lawyers say these are defamation cases.\u003c/p>\n\u003cp>The litigation filed around the country is almost dizzying.\u003c/p>\n\u003cp>In California, for example, Cosby faces a lawsuit filed by Judy Huth, who says she was sexually assaulted at the Playboy Mansion around 1974 when she was 15. In a defamation case, model Janice Dickinson claims Cosby drugged and raped her in Lake Tahoe in 1982. Cosby has denied any wrongdoing.\u003c/p>\n\u003cp>In Massachusetts, Cosby faces three defamation lawsuits by nine women who say they were branded liars. His wife has been forced to give a deposition, though Cosby was granted a delay because of the criminal case.\u003c/p>\n\u003cp>“I feel like I have a great big scarlet ‘L’ painted on me,” plaintiff Kristina Ruehli, 72, of Windham, New Hampshire, told the AP. “How do you get that off?”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP Entertainment Reporter Anthony McCartney contributed to this report from Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby also is contending with two sexual assault lawsuits, two disputes over whether his homeowner policies should cover his legal expenses, and a dozen defamation claims brought by women who came forward too late to sue over sexual assault but say they were smeared by Cosby or his representatives.\u003c/p>\n\u003cp>The criminal and civil cases have generated countless spinoff battles over such things as whether Cosby’s wife can be questioned at a deposition and whether Constand’s recent cooperation with police violated the confidentiality agreement surrounding the financial settlement she reached with Cosby in 2006.\u003c/p>\n\u003cp>The lawsuits stretch from Los Angeles to Pittsburgh to Worcester, Massachusetts, not too far from where Cosby and his wife, Camille, have a home. In the past two years alone, some two dozen Cosby lawyers have done his bidding in a variety of courts, arguing in front of local magistrates, a state supreme court and federal appeals court judges.\u003c/p>\n\u003cp>His attorneys have flown from California to Philadelphia, for example, for a brief hearing over who can see the file from Constand’s original 2005 police complaint. And they have gathered from Los Angeles, Washington and Philadelphia to pack the defense table for the so-far unsuccessful bid to get the criminal charges thrown out over the purported non-prosecution agreement.\u003c/p>\n\u003cp>“I’m sure he’s angry that he thought he made a deal with someone … and then all of a sudden the whole thing blows up on him and his whole reputation is ruined,” said celebrity lawyer Larry R. Feldman of Los Angeles, who is not involved in the Cosby case but represented a 13-year-old who sued Michael Jackson. “I’m not worried about him financially, but nobody at this stage of his life and his career, I’m sure, wants to be defending these types of claims.”\u003c/p>\n\u003cp>Joseph Cammarata, a lawyer for seven women suing Cosby in Massachusetts, said he isn’t concerned about the size of Cosby’s legal team, which he jokingly called an “economic recovery plan for lawyers.”\u003c/p>\n\u003cp>“Only one person can speak at a time. In no way, shape or form do I think I am at a disadvantage,” Cammarata said.\u003c/p>\n\u003cp>A spokesman for the legal team, Andrew Wyatt, told The Associated Press that none of the lawyers could comment on the scope of Cosby’s legal battles. However, Cammarata said in court that he was told that Cosby’s insurance company shelled out $2 million in one 15-month period for Cosby’s legal bills in his case alone.\u003c/p>\n\u003cp>Cosby’s insurer, AIG, is fighting Cosby’s efforts to have two $1 million homeowner policies, along with $35 million in excess liability coverage, kick in. AIG argues that its policies exclude coverage for sexual assault cases; Cosby’s lawyers say these are defamation cases.\u003c/p>\n\u003cp>The litigation filed around the country is almost dizzying.\u003c/p>\n\u003cp>In California, for example, Cosby faces a lawsuit filed by Judy Huth, who says she was sexually assaulted at the Playboy Mansion around 1974 when she was 15. In a defamation case, model Janice Dickinson claims Cosby drugged and raped her in Lake Tahoe in 1982. Cosby has denied any wrongdoing.\u003c/p>\n\u003cp>In Massachusetts, Cosby faces three defamation lawsuits by nine women who say they were branded liars. His wife has been forced to give a deposition, though Cosby was granted a delay because of the criminal case.\u003c/p>\n\u003cp>“I feel like I have a great big scarlet ‘L’ painted on me,” plaintiff Kristina Ruehli, 72, of Windham, New Hampshire, told the AP. “How do you get that off?”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP Entertainment Reporter Anthony McCartney contributed to this report from Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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