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"content": "\u003cp>After 25 centuries Sophocles’ \u003cem>Antigone\u003c/em> is still the sharpest theatrical take on state power and dead bodies. King Creon’s refusal to bury his niece’s Antigone’s brothers and Antigone’s defiance of the King’s decree shows how politically and dramatically potent a corpse can be.\u003c/p>\n\u003cp>There have been too many corpses in San Francisco recently — the bullet-ridden bodies of Alex Nieto and Mario Woods — killed in strange and discouraging encounters with the police. The resulting outrage has produced hundreds of modern day Antigones: political activists storming City Hall calling for the resignations of Mayor Ed Lee and Chief of Police Greg Suhr; low riders shutting down Valencia Street; and, most dramatically, the 17-day hunger strike by the “Frisco Five” at the Mission Police Station which came at least to a temporary end over the weekend.\u003c/p>\n\u003cp>There is only one corpse in spoken word poet and novelist Paul Flores’ solo show, \u003ca href=\"http://www.paulsflores.com/events/2016/5/6/youre-gonna-cry-may-6-28-at-the-phoenix-theater-in-san-francisco\" target=\"_blank\" rel=\"noopener\">\u003cem>You’re Gonna Cry\u003c/em>\u003c/a>. Its understated and dismaying entrance into Flores’ portrait of Mission district in the mid-1990s is shocking, especially in the way the dead body just kind of appears and then just as quickly fades away. It’s a horrible sequence, not really related to state violence, and yet in spite of the 20-year difference in time between the events depicted in Flores’ play and today, it somehow feels of a piece with what’s happening now.\u003c/p>\n\u003cfigure id=\"attachment_11564124\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11564124\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Paul-with-Youre-Gonna-Cry-Backdrop.jpg\" alt=\"Paul Flores in front of the set for his 'You're Gonna Cry." Photo: Ramses El-Qare\" width=\"720\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Paul-with-Youre-Gonna-Cry-Backdrop.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Paul-with-Youre-Gonna-Cry-Backdrop-400x266.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Paul Flores in front of the set for his ‘You’re Gonna Cry.’ (Photo: Ramses El-Qare)\u003c/figcaption>\u003c/figure>\n\u003cp>It takes a while for Flores’ play to get going. When it does, it bounces deftly between sharp political commentary, goofy fun, and a surreal sense of tragedy. It’s one of those one-man shows that seems to include everyone in the world. Of the most important, there is Cesar, a young Chicano poet; Lydia, a Latina party girl; Richard, a tech worker and new homeowner; Ronnie, a drug-dealing puppeteer; Bianca, his 7-year old niece, who feels the dangers of the world with an aching calm; and Chingon, a kind of all-seeing hipster of the street. And that’s just the beginning of the neighborhood.\u003c/p>\n\u003cp>There’s not much of a plot, just the desire of each character to take on the world and experience everything that the Mission had to offer at that time. For Cesar, it’s the beginning of a political bohemia; for Lydia, a chance to escape her traditional and domineering father; for Richard, the white man’s journey into a world he sees as more vibrant and alive than suburban Palo Alto.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tragedy is that Flores’ characters can’t quite grasp what is happening around them, and the way that money is subtly influencing and controlling their lives. It’s as if Adam Smith’s invisible hand of the market went about slyly killing hopes and dreams, and every once and a while, an innocent bystander — just for kicks.\u003c/p>\n\u003cp>When Ronnie pleads with Lydia to watch his nieces (Bianca and Stephanie) so that he can bail his friend Willie out of jail — arrested for disturbing the peace and tech worker Richard’s sleep — you intuitively feel the makings of a disaster. There it is in Lydia’s blithe acceptance of caring for children she has no plans to watch and Ronnie’s promise to repay her in drugs. These are just two of the many exchanges of money, people, and favors that lead to a corpse on the street.\u003c/p>\n\u003cp>Later, in one of the most affecting scenes of the evening, Cesar, Lydia, and their friend Martin try to understand what happened. None of them is fully capable of doing so, and so Flores leaves it to time — in the figure of Chingon — to at least offer a sense of perspective. And without directly saying so, he comes up with something a little like this:\u003c/p>\n\u003cp>Once upon time there was a community in the Mission. It was imperfect and plagued by human failure. But the vibrancy of the people and life there was so alluring that the rich felt that this was something they had to have. And so they purchased the “lifestyle” and adopted the outlines of what they saw—smoked “Pall Mall cigarettes/ and set up a retro couch on the sidewalk.” For these “Nuevo Mission Bohemians…Evan/Casey/Brian/Jen/Charlene/Zack…Nobody calls the police.”\u003c/p>\n\u003cp>And that brings us back to the present moment, with the bullet-ridden corpses of young men and the political economy that would prefer to see them disappear. Flores’ play isn’t perfect, but at its core is the type of political theater desperately missing in San Francisco and the Bay Area.\u003c/p>\n\u003cp>Flores has a vision of the world, and that vision sees two Missions: the present playground of the rich where you can sing in the streets with no fear of the police; and the older one, where the new Antigones do their best to properly bury and respect the dead, and hold onto the land where these tragedies are becoming all too common.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>You’re Gonna Cry\u003c/em> plays through Saturday, May 28 at the Phoenix Theatre in San Francisco. For information and tickets please go to www.theatermadcap.com.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The tragedy is that Flores’ characters can’t quite grasp what is happening around them, and the way that money is subtly influencing and controlling their lives. It’s as if Adam Smith’s invisible hand of the market went about slyly killing hopes and dreams, and every once and a while, an innocent bystander — just for kicks.\u003c/p>\n\u003cp>When Ronnie pleads with Lydia to watch his nieces (Bianca and Stephanie) so that he can bail his friend Willie out of jail — arrested for disturbing the peace and tech worker Richard’s sleep — you intuitively feel the makings of a disaster. There it is in Lydia’s blithe acceptance of caring for children she has no plans to watch and Ronnie’s promise to repay her in drugs. These are just two of the many exchanges of money, people, and favors that lead to a corpse on the street.\u003c/p>\n\u003cp>Later, in one of the most affecting scenes of the evening, Cesar, Lydia, and their friend Martin try to understand what happened. None of them is fully capable of doing so, and so Flores leaves it to time — in the figure of Chingon — to at least offer a sense of perspective. And without directly saying so, he comes up with something a little like this:\u003c/p>\n\u003cp>Once upon time there was a community in the Mission. It was imperfect and plagued by human failure. But the vibrancy of the people and life there was so alluring that the rich felt that this was something they had to have. And so they purchased the “lifestyle” and adopted the outlines of what they saw—smoked “Pall Mall cigarettes/ and set up a retro couch on the sidewalk.” For these “Nuevo Mission Bohemians…Evan/Casey/Brian/Jen/Charlene/Zack…Nobody calls the police.”\u003c/p>\n\u003cp>And that brings us back to the present moment, with the bullet-ridden corpses of young men and the political economy that would prefer to see them disappear. Flores’ play isn’t perfect, but at its core is the type of political theater desperately missing in San Francisco and the Bay Area.\u003c/p>\n\u003cp>Flores has a vision of the world, and that vision sees two Missions: the present playground of the rich where you can sing in the streets with no fear of the police; and the older one, where the new Antigones do their best to properly bury and respect the dead, and hold onto the land where these tragedies are becoming all too common.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>You’re Gonna Cry\u003c/em> plays through Saturday, May 28 at the Phoenix Theatre in San Francisco. For information and tickets please go to www.theatermadcap.com.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Now through Sunday, May 15: \u003ca href=\"https://shotgunplayers.org/online/hamlet\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamlet\u003c/em> \u003c/a>at Shotgun Players’ Ashby Stage, Berkeley\u003cbr>\n\u003c/strong>‘The play’s the thing’ in this unusual version of Shakespeare’s famous tragedy, where the cast members only find out which role they’re going to play that night five minutes before curtain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=an2hCTAI4CU\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, May 14: \u003ca href=\"http://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">\u003cem>Latino Art Now!\u003c/em>\u003c/a> exhibition at MACLA, San Jose\u003c/strong>\u003cbr>\nFor the 18th year running, the region’s premiere Latino art and culture hub presents an exhibition of works by some of the most fabulous contemporary Latino artists of recent times from the Bay Area and beyond, like Carlos Rolón/Dzine, Gilbert “Magu” Lujan, and Ester Hernandez.\u003c/p>\n\u003cp>\u003cstrong>Now through Thursday, May 19: Cypress String Quartet’s \u003ca href=\"http://cypressquartet.com/beethoven-in-the-city/\" target=\"_blank\" rel=\"noopener\">\u003cem>Beethoven in the City\u003c/em>\u003c/a> concert series at a variety of locations, San Francisco\u003cbr>\n\u003c/strong>After 20 years, the esteemed Bay Area-based chamber ensemble is saying farewell with a series of free pop-up concerts covering all 16 of Beethoven’s string quartets in different locations around San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Saturday, May 14: \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art\u003c/a> (SFMOMA) reopening, San Francisco\u003c/strong>\u003cbr>\nAfter three years of being closed to the public, the expanded SFMOMA reopens with a big public celebration and hundreds of newly added works of contemporary art from the Fisher Collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also of interest:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, May 28: Paul Flores’ \u003ca href=\"http://www.paulsflores.com/events/2016/5/6/youre-gonna-cry-may-6-28-at-the-phoenix-theater-in-san-francisco\" target=\"_blank\" rel=\"noopener\">\u003ci>You’re Gonna Cry\u003c/i>\u003c/a> at Phoenix Theatre, San Francisco\u003cbr>\n\u003c/strong>Bay Area actor and spoken word artist Paul Flores presents a solo show about Mission gentrification in the 1990s, embodying many colorful characters inspired by the neighborhood’s residents.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Now through Sunday, May 15: \u003ca href=\"https://shotgunplayers.org/online/hamlet\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamlet\u003c/em> \u003c/a>at Shotgun Players’ Ashby Stage, Berkeley\u003cbr>\n\u003c/strong>‘The play’s the thing’ in this unusual version of Shakespeare’s famous tragedy, where the cast members only find out which role they’re going to play that night five minutes before curtain.\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/an2hCTAI4CU'\n title='//www.youtube.com/embed/an2hCTAI4CU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Now through Saturday, May 14: \u003ca href=\"http://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">\u003cem>Latino Art Now!\u003c/em>\u003c/a> exhibition at MACLA, San Jose\u003c/strong>\u003cbr>\nFor the 18th year running, the region’s premiere Latino art and culture hub presents an exhibition of works by some of the most fabulous contemporary Latino artists of recent times from the Bay Area and beyond, like Carlos Rolón/Dzine, Gilbert “Magu” Lujan, and Ester Hernandez.\u003c/p>\n\u003cp>\u003cstrong>Now through Thursday, May 19: Cypress String Quartet’s \u003ca href=\"http://cypressquartet.com/beethoven-in-the-city/\" target=\"_blank\" rel=\"noopener\">\u003cem>Beethoven in the City\u003c/em>\u003c/a> concert series at a variety of locations, San Francisco\u003cbr>\n\u003c/strong>After 20 years, the esteemed Bay Area-based chamber ensemble is saying farewell with a series of free pop-up concerts covering all 16 of Beethoven’s string quartets in different locations around San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Saturday, May 14: \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art\u003c/a> (SFMOMA) reopening, San Francisco\u003c/strong>\u003cbr>\nAfter three years of being closed to the public, the expanded SFMOMA reopens with a big public celebration and hundreds of newly added works of contemporary art from the Fisher Collection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also of interest:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, May 28: Paul Flores’ \u003ca href=\"http://www.paulsflores.com/events/2016/5/6/youre-gonna-cry-may-6-28-at-the-phoenix-theater-in-san-francisco\" target=\"_blank\" rel=\"noopener\">\u003ci>You’re Gonna Cry\u003c/i>\u003c/a> at Phoenix Theatre, San Francisco\u003cbr>\n\u003c/strong>Bay Area actor and spoken word artist Paul Flores presents a solo show about Mission gentrification in the 1990s, embodying many colorful characters inspired by the neighborhood’s residents.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A 17-day hunger strike at San Francisco’s Mission District police station involving artists ended Saturday night.\u003c/p>\n\u003cp>The “Frisco Five” (#Frisco5), as the strikers have come to be known, include members of the Bay Area hip-hop community Ilyich Sato and Sellassie Blackwell, along with Edwin Lindo, Ike Pinkston and Maria Cristina Guttierrez.\u003c/p>\n\u003cp>The hunger strikers were calling for the resignation of police chief Greg Suhr in protest at the recent police shootings of several men from ethnic minority groups.\u003c/p>\n\u003cp>All five of the strikers remain in hospital where they were admitted Friday night for medical attention.\u003c/p>\n\u003cp>On Tuesday, May 3, the Frisco Five, in wheelchairs, led a group of protesters to San Francisco City Hall where they demanded to speak to mayor Ed Lee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the way to City Hall, KQED Arts captured a moment of Xiomara Grace singing Sam Cooke’s “A Change is Gonna Come” (below). Lee was not available, but spoke to the hunger strikers by phone on Thursday. Lee said he had no intention of asking Suhr to step down.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vBizSbcRxzo\u003c/p>\n\u003cp>The \u003ca href=\"http://www.bbc.com/news/world-us-canada-36240628\" target=\"_blank\" rel=\"noopener\">BBC reports\u003c/a> that more than 30 people were arrested and subsequently released in the aftermath of protests on Friday, May 6 at City Hall.\u003c/p>\n\u003cp>There are more than 1,000 fatal shootings by police in the U.S. each year, among them a disproportionately high number of people of color.\u003c/p>\n\u003cp>The protests have struck a chord with the Bay Area’s creative community, with artists openly showing their support of the strikers.\u003c/p>\n\u003cp>On Wednesday, May 4, actor and spoken word artist Paul Flores performed a free, pop-up version of his solo show about the gentrification of the Mission District in the 1990s, \u003ca href=\"http://www.paulsflores.com/your-gonna-cry/\" target=\"_blank\" rel=\"noopener\">\u003cem>You’re Gonna Cry\u003c/em>\u003c/a>, on the curb outside the Mission police station in front of the Frisco Five and around 100 onlookers. Singer Rupa Marya — of the band \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes\u003c/a> and a professional physician — was a core part of the volunteer medical team monitoring the health of the Five during the strike.\u003c/p>\n\u003cfigure id=\"attachment_11562719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11562719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-800x562.jpg\" alt=\"Actor Paul Flores performs his solo show, 'You're Gonna Cry' outside the Mission police station on Wednesday, May 4 in solidarity with the Frisco Five hunger strikers\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-1920x1349.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-960x675.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Paul Flores performs his solo show, ‘You’re Gonna Cry’ outside the Mission police station on Wednesday, May 4 in solidarity with the Frisco Five hunger strikers \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Frisco Five’s supporters are now calling for a “general strike” on Monday, May 9 at 8am at City Hall.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A 17-day hunger strike at San Francisco’s Mission District police station involving artists ended Saturday night.\u003c/p>\n\u003cp>The “Frisco Five” (#Frisco5), as the strikers have come to be known, include members of the Bay Area hip-hop community Ilyich Sato and Sellassie Blackwell, along with Edwin Lindo, Ike Pinkston and Maria Cristina Guttierrez.\u003c/p>\n\u003cp>The hunger strikers were calling for the resignation of police chief Greg Suhr in protest at the recent police shootings of several men from ethnic minority groups.\u003c/p>\n\u003cp>All five of the strikers remain in hospital where they were admitted Friday night for medical attention.\u003c/p>\n\u003cp>On Tuesday, May 3, the Frisco Five, in wheelchairs, led a group of protesters to San Francisco City Hall where they demanded to speak to mayor Ed Lee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the way to City Hall, KQED Arts captured a moment of Xiomara Grace singing Sam Cooke’s “A Change is Gonna Come” (below). Lee was not available, but spoke to the hunger strikers by phone on Thursday. Lee said he had no intention of asking Suhr to step down.\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/vBizSbcRxzo'\n title='//www.youtube.com/embed/vBizSbcRxzo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003ca href=\"http://www.bbc.com/news/world-us-canada-36240628\" target=\"_blank\" rel=\"noopener\">BBC reports\u003c/a> that more than 30 people were arrested and subsequently released in the aftermath of protests on Friday, May 6 at City Hall.\u003c/p>\n\u003cp>There are more than 1,000 fatal shootings by police in the U.S. each year, among them a disproportionately high number of people of color.\u003c/p>\n\u003cp>The protests have struck a chord with the Bay Area’s creative community, with artists openly showing their support of the strikers.\u003c/p>\n\u003cp>On Wednesday, May 4, actor and spoken word artist Paul Flores performed a free, pop-up version of his solo show about the gentrification of the Mission District in the 1990s, \u003ca href=\"http://www.paulsflores.com/your-gonna-cry/\" target=\"_blank\" rel=\"noopener\">\u003cem>You’re Gonna Cry\u003c/em>\u003c/a>, on the curb outside the Mission police station in front of the Frisco Five and around 100 onlookers. Singer Rupa Marya — of the band \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes\u003c/a> and a professional physician — was a core part of the volunteer medical team monitoring the health of the Five during the strike.\u003c/p>\n\u003cfigure id=\"attachment_11562719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11562719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-800x562.jpg\" alt=\"Actor Paul Flores performs his solo show, 'You're Gonna Cry' outside the Mission police station on Wednesday, May 4 in solidarity with the Frisco Five hunger strikers\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-1920x1349.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-960x675.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Paul Flores performs his solo show, ‘You’re Gonna Cry’ outside the Mission police station on Wednesday, May 4 in solidarity with the Frisco Five hunger strikers \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Frisco Five’s supporters are now calling for a “general strike” on Monday, May 9 at 8am at City Hall.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Andrew Kornfeld’s overnight flight to bring a prescription drug to Prince has been described by his attorney as a “lifesaving mission” to persuade the superstar to start treatment for addiction.\u003c/p>\n\u003cp>Instead, the 26-year-old Californian found Prince collapsed in an elevator at his Paisley Park home.\u003c/p>\n\u003cp>Neither Andrew Kornfeld nor his father, an addiction and pain doctor, has been accused of wrongdoing. But a law enforcement official said on Friday investigators want to interview both of them about the drug that was never administered to Prince. The official spoke on condition of anonymity because he was not authorized to speak to the media.\u003c/p>\n\u003cp>Kornfeld helped in his father’s medical practice by teaching surfing to young drug users in recovery. In college, his studies in neuroscience sparked a fascination with consciousness and psychedelic drugs such as LSD.\u003c/p>\n\u003cp>[contextly_sidebar id=”JXif7xzYuundo9FGKXLa00Lky77c6xLJ”]\u003c/p>\n\u003cp>Jim Fadiman, a psychologist who popularized the notion of using micro-doses of LSD to enhance workplace productivity, considers the younger Kornfeld “a brilliant man.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kornfeld’s father sent his son to Prince’s Minneapolis-area home, a decision that has raised questions about whether the doctor was acting legally at the time. The elder Kornfeld was not licensed to practice medicine in Minnesota and was not registered to care for patients there via telemedicine, as the state requires. His son was not a licensed prescriber.\u003c/p>\n\u003cp>Since his connection with Prince became known, the younger Kornfeld has been stalked by celebrity photographers and has avoided talking publicly about the musician’s death. Reached by phone Friday, he said simply, “Sorry. I’m not making a comment at this time.”\u003c/p>\n\u003cp>Andrew Kornfeld’s social media accounts show him smiling with a surfboard and list him as CEO of a Bay Area marketing company for health professionals. A University of California Santa Cruz spokesman confirmed that he graduated in 2013 with bachelor’s degrees in psychology and neuroscience.\u003c/p>\n\u003cp>But perhaps the most intriguing detail about Kornfeld is his connection with Fadiman, author of “The Psychedelic Explorer’s Guide,” which collects stories of people experimenting with LSD, including professionals who took a fraction of a normal dose and reported boosts in their creativity at work.\u003c/p>\n\u003cp>Fadiman and Kornfeld co-authored a chapter titled “Psychedelic-Induced Experiences” for “The Wiley-Blackwell Handbook of Transpersonal Psychology,” a textbook dealing with spirituality and transcendent human experience.\u003c/p>\n\u003cp>Their chapter lauds LSD’s potential for out-of-body experiences and “seemingly spontaneous healing” from allergies, cluster headaches and even alcoholism.\u003c/p>\n\u003cp>“Andrew and I are friends and colleagues,” Fadiman said in an email to The Associated Press. A portion of the chapter they wrote together proposes that LSD may activate adaptive processes that form new, lasting connections in the brain.\u003c/p>\n\u003cp>“That section was entirely Andrew’s,” Fadiman said.\u003c/p>\n\u003cp>The book’s editor, Glenn Hartelius, an associate professor at California Institute of Integral Studies in San Francisco, praised Kornfeld’s contribution.\u003c/p>\n\u003cp>“I have not met Andrew, but I found his thesis on how psychedelics create personal transformation to be original, elegant and potentially researchable — perhaps offering a step forward in understanding the impact of these substances,” Hartelius said in an email.\u003c/p>\n\u003cp>The passage attributed to Kornfeld suggests psychedelic drugs could be “neuroplasticity activators.” It states: “If a single psychedelic experience is able to create durable changes in personality and mental and emotional health, as has been reported, then it seems that these substances may be able to uniquely catalyze the formation of new brain maps.”\u003c/p>\n\u003cp>Kornfeld’s father, Dr. Howard Kornfeld, has published research that has been more mainstream than his son’s work, although it too has pushed the envelope.\u003c/p>\n\u003cp>Last year, Howard Kornfeld published a paper on the use of buprenorphine, which can be used to treat opioid addiction by easing cravings and withdrawal symptoms. He wrote about using a buprenorphine patch to avoid “the painful abstinence period” before standard buprenorphine treatment for addiction. In a 2011 letter to a medical journal, he praised buprenorphine’s potential for pain patients, saying believers in opioid therapy “need not lose faith.”\u003c/p>\n\u003cp>On Friday, college friends described Kornfeld as charismatic and smart, a helpful person with the rare ability to get people to work together.\u003c/p>\n\u003cp>“He really knows how to get people motivated, and he’s a good organizer,” said Kyle Boyar, 25, who met Kornfeld in a neuroscience course at the University of California at Santa Cruz in 2009.\u003c/p>\n\u003cp>Michelle Dick was in a student group that Kornfeld started on campus called the “Brain, Mind and Consciousness Society.”\u003c/p>\n\u003cp>“It’s not many people you meet who make you feel like they have the potential to change people’s lives for the better on a massive scale,” she said in an email.\u003c/p>\n\u003cp>Kornfeld’s father was called by Prince’s staff on April 20 as they sought help for the musician’s addiction to painkillers, according to the Kornfelds’ attorney, William Mauzy. The doctor sent his son on an overnight flight with a small amount of buprenorphine for Prince. The musician never took the drug.\u003c/p>\n\u003cp>After finding Prince in the elevator, Andrew Kornfeld called 911 because two of his staffers were shocked and screaming, Mauzy said.\u003c/p>\n\u003cp>“That he seemed to be the person who was most able to deal with the situation instead of people who knew Prince for years would imply that he was more level-headed than star-struck,” Fadiman said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Janie Har in San Francisco contributed to this report.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andrew Kornfeld’s overnight flight to bring a prescription drug to Prince has been described by his attorney as a “lifesaving mission” to persuade the superstar to start treatment for addiction.\u003c/p>\n\u003cp>Instead, the 26-year-old Californian found Prince collapsed in an elevator at his Paisley Park home.\u003c/p>\n\u003cp>Neither Andrew Kornfeld nor his father, an addiction and pain doctor, has been accused of wrongdoing. But a law enforcement official said on Friday investigators want to interview both of them about the drug that was never administered to Prince. The official spoke on condition of anonymity because he was not authorized to speak to the media.\u003c/p>\n\u003cp>Kornfeld helped in his father’s medical practice by teaching surfing to young drug users in recovery. In college, his studies in neuroscience sparked a fascination with consciousness and psychedelic drugs such as LSD.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Jim Fadiman, a psychologist who popularized the notion of using micro-doses of LSD to enhance workplace productivity, considers the younger Kornfeld “a brilliant man.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kornfeld’s father sent his son to Prince’s Minneapolis-area home, a decision that has raised questions about whether the doctor was acting legally at the time. The elder Kornfeld was not licensed to practice medicine in Minnesota and was not registered to care for patients there via telemedicine, as the state requires. His son was not a licensed prescriber.\u003c/p>\n\u003cp>Since his connection with Prince became known, the younger Kornfeld has been stalked by celebrity photographers and has avoided talking publicly about the musician’s death. Reached by phone Friday, he said simply, “Sorry. I’m not making a comment at this time.”\u003c/p>\n\u003cp>Andrew Kornfeld’s social media accounts show him smiling with a surfboard and list him as CEO of a Bay Area marketing company for health professionals. A University of California Santa Cruz spokesman confirmed that he graduated in 2013 with bachelor’s degrees in psychology and neuroscience.\u003c/p>\n\u003cp>But perhaps the most intriguing detail about Kornfeld is his connection with Fadiman, author of “The Psychedelic Explorer’s Guide,” which collects stories of people experimenting with LSD, including professionals who took a fraction of a normal dose and reported boosts in their creativity at work.\u003c/p>\n\u003cp>Fadiman and Kornfeld co-authored a chapter titled “Psychedelic-Induced Experiences” for “The Wiley-Blackwell Handbook of Transpersonal Psychology,” a textbook dealing with spirituality and transcendent human experience.\u003c/p>\n\u003cp>Their chapter lauds LSD’s potential for out-of-body experiences and “seemingly spontaneous healing” from allergies, cluster headaches and even alcoholism.\u003c/p>\n\u003cp>“Andrew and I are friends and colleagues,” Fadiman said in an email to The Associated Press. A portion of the chapter they wrote together proposes that LSD may activate adaptive processes that form new, lasting connections in the brain.\u003c/p>\n\u003cp>“That section was entirely Andrew’s,” Fadiman said.\u003c/p>\n\u003cp>The book’s editor, Glenn Hartelius, an associate professor at California Institute of Integral Studies in San Francisco, praised Kornfeld’s contribution.\u003c/p>\n\u003cp>“I have not met Andrew, but I found his thesis on how psychedelics create personal transformation to be original, elegant and potentially researchable — perhaps offering a step forward in understanding the impact of these substances,” Hartelius said in an email.\u003c/p>\n\u003cp>The passage attributed to Kornfeld suggests psychedelic drugs could be “neuroplasticity activators.” It states: “If a single psychedelic experience is able to create durable changes in personality and mental and emotional health, as has been reported, then it seems that these substances may be able to uniquely catalyze the formation of new brain maps.”\u003c/p>\n\u003cp>Kornfeld’s father, Dr. Howard Kornfeld, has published research that has been more mainstream than his son’s work, although it too has pushed the envelope.\u003c/p>\n\u003cp>Last year, Howard Kornfeld published a paper on the use of buprenorphine, which can be used to treat opioid addiction by easing cravings and withdrawal symptoms. He wrote about using a buprenorphine patch to avoid “the painful abstinence period” before standard buprenorphine treatment for addiction. In a 2011 letter to a medical journal, he praised buprenorphine’s potential for pain patients, saying believers in opioid therapy “need not lose faith.”\u003c/p>\n\u003cp>On Friday, college friends described Kornfeld as charismatic and smart, a helpful person with the rare ability to get people to work together.\u003c/p>\n\u003cp>“He really knows how to get people motivated, and he’s a good organizer,” said Kyle Boyar, 25, who met Kornfeld in a neuroscience course at the University of California at Santa Cruz in 2009.\u003c/p>\n\u003cp>Michelle Dick was in a student group that Kornfeld started on campus called the “Brain, Mind and Consciousness Society.”\u003c/p>\n\u003cp>“It’s not many people you meet who make you feel like they have the potential to change people’s lives for the better on a massive scale,” she said in an email.\u003c/p>\n\u003cp>Kornfeld’s father was called by Prince’s staff on April 20 as they sought help for the musician’s addiction to painkillers, according to the Kornfelds’ attorney, William Mauzy. The doctor sent his son on an overnight flight with a small amount of buprenorphine for Prince. The musician never took the drug.\u003c/p>\n\u003cp>After finding Prince in the elevator, Andrew Kornfeld called 911 because two of his staffers were shocked and screaming, Mauzy said.\u003c/p>\n\u003cp>“That he seemed to be the person who was most able to deal with the situation instead of people who knew Prince for years would imply that he was more level-headed than star-struck,” Fadiman said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Janie Har in San Francisco contributed to this report.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The World According to Sound: Pianist Keith Jarrett's Involuntary Vocalizations",
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"content": "\u003cp>If you caught jazz pianist \u003ca href=\"http://www.npr.org/artists/14867336/keith-jarrett\" target=\"_blank\">Keith Jarrett\u003c/a> earlier this week in either San Francisco or Los Angeles, you might have heard a little more than just music. Jarrett is famous for his involuntary vocalizations.\u003c/p>\n\u003cp>These noises he makes are hard to describe. Sometimes it's a grunt or a hum, other times it's a squeal that varies in pitch. At certain solo concerts, Jarrett makes the sounds for almost the entire show. Check out \u003ca href=\"https://www.youtube.com/watch?v=KPgEoDt_Duc\">this performance\u003c/a> of his in Toyko. Many jazz pianists involuntarily vocalize, but Keith Jarrett is arguably the most conspicuous.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/262879591\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>There is some dispute over whether these sounds are truly “involuntary,\" if the musicians needed to make them to play the way they did. Regardless, many of the most famous jazz pianists vocalized -- \u003ca href=\"https://www.youtube.com/watch?v=cvLjp-7b0Jk\">Bud Powell\u003c/a> and \u003ca href=\"https://youtu.be/cSX_7ejc5u8?t=13m30s\">Oscar Peterson\u003c/a> to name a few. You can hear vocal sounds from pianists on a lot of jazz albums if you listen closely. Sometimes the musicians are making these noises, but we just can't hear them because of how the session was recorded.\u003c/p>\n\u003cp>Jazz musicians aren’t the only ones who involuntary vocalize. Some classical pianists, like \u003ca href=\"https://www.youtube.com/watch?v=aEkXet4WX_c&feature=youtu.be&t=4m16s\">Glenn Gould\u003c/a>, also did it. Gould claimed these auditory occurrences were unconscious. When Gould was a child, his piano teacher tried to cut this idiosyncrasy, but nothing seemed to work. Gould’s humming has been called “Alien Conversations.” Some classical purists feel it ruins his most famous recordings, even though you can barely hear him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This little audio treat comes to us from \u003ca href=\"http://www.theworldaccordingtosound.org\">The World According to Sound\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you caught jazz pianist \u003ca href=\"http://www.npr.org/artists/14867336/keith-jarrett\" target=\"_blank\">Keith Jarrett\u003c/a> earlier this week in either San Francisco or Los Angeles, you might have heard a little more than just music. Jarrett is famous for his involuntary vocalizations.\u003c/p>\n\u003cp>These noises he makes are hard to describe. Sometimes it's a grunt or a hum, other times it's a squeal that varies in pitch. At certain solo concerts, Jarrett makes the sounds for almost the entire show. Check out \u003ca href=\"https://www.youtube.com/watch?v=KPgEoDt_Duc\">this performance\u003c/a> of his in Toyko. Many jazz pianists involuntarily vocalize, but Keith Jarrett is arguably the most conspicuous.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/262879591&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/262879591'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There is some dispute over whether these sounds are truly “involuntary,\" if the musicians needed to make them to play the way they did. Regardless, many of the most famous jazz pianists vocalized -- \u003ca href=\"https://www.youtube.com/watch?v=cvLjp-7b0Jk\">Bud Powell\u003c/a> and \u003ca href=\"https://youtu.be/cSX_7ejc5u8?t=13m30s\">Oscar Peterson\u003c/a> to name a few. You can hear vocal sounds from pianists on a lot of jazz albums if you listen closely. Sometimes the musicians are making these noises, but we just can't hear them because of how the session was recorded.\u003c/p>\n\u003cp>Jazz musicians aren’t the only ones who involuntary vocalize. Some classical pianists, like \u003ca href=\"https://www.youtube.com/watch?v=aEkXet4WX_c&feature=youtu.be&t=4m16s\">Glenn Gould\u003c/a>, also did it. Gould claimed these auditory occurrences were unconscious. When Gould was a child, his piano teacher tried to cut this idiosyncrasy, but nothing seemed to work. Gould’s humming has been called “Alien Conversations.” Some classical purists feel it ruins his most famous recordings, even though you can barely hear him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The five activists known as the “#Frisco5” that have been on a hunger strike for 16 days in front of the Mission District police station in San Francisco were hospitalized Friday, though the strikers promises to continue their protest while receiving medical treatment. All five have been taken to an unknown location.\u003c/p>\n\u003cp>The announcement comes only a few days after one of their members, Sellassie Blackwell, was taken to USSF Medical Center for a checkup. Blackwell was released hours later.\u003c/p>\n\u003cp>“They’re not giving up,” supporter Victor Picazo told the \u003ca href=\"http://www.sfgate.com/bayarea/article/SF-hunger-strikers-go-to-hospital-protest-camp-7404085.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a> this afternoon. “They’re just too sick to be out here.”\u003c/p>\n\u003cp>The protestors have been calling for San Francisco Police Chief Greg Suhr to resign over the series of local fatal police shootings that have occurred over the past two years.\u003c/p>\n\u003cp>Since they began their strike on April 21, the group has drawn significant media coverage, which resulted in a discussion over the phone with San Francisco Mayor Ed Lee earlier this week. But according to the group’s spokesperson, Yayne Abeda, Lee told the strikers that he continues to support Suhr and would not ask him to step down.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The Frisco5 shall continue to fast until their demands are met,” Abeda wrote in a statement after the talk with Lee. “They ask that the community stand behind them and show Mayor Lee that there will be no business as usual until he fires Chief Suhr and steps down as Mayor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Doctors have been regularly checking on the strikers, who are subsisting on a diet of chicken broth and coconut water.\u003c/p>\n\n",
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"title": "San Francisco Hunger Strikers Hospitalized, Promise to Keep Protesting | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The five activists known as the “#Frisco5” that have been on a hunger strike for 16 days in front of the Mission District police station in San Francisco were hospitalized Friday, though the strikers promises to continue their protest while receiving medical treatment. All five have been taken to an unknown location.\u003c/p>\n\u003cp>The announcement comes only a few days after one of their members, Sellassie Blackwell, was taken to USSF Medical Center for a checkup. Blackwell was released hours later.\u003c/p>\n\u003cp>“They’re not giving up,” supporter Victor Picazo told the \u003ca href=\"http://www.sfgate.com/bayarea/article/SF-hunger-strikers-go-to-hospital-protest-camp-7404085.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a> this afternoon. “They’re just too sick to be out here.”\u003c/p>\n\u003cp>The protestors have been calling for San Francisco Police Chief Greg Suhr to resign over the series of local fatal police shootings that have occurred over the past two years.\u003c/p>\n\u003cp>Since they began their strike on April 21, the group has drawn significant media coverage, which resulted in a discussion over the phone with San Francisco Mayor Ed Lee earlier this week. But according to the group’s spokesperson, Yayne Abeda, Lee told the strikers that he continues to support Suhr and would not ask him to step down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Frisco5 shall continue to fast until their demands are met,” Abeda wrote in a statement after the talk with Lee. “They ask that the community stand behind them and show Mayor Lee that there will be no business as usual until he fires Chief Suhr and steps down as Mayor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Doctors have been regularly checking on the strikers, who are subsisting on a diet of chicken broth and coconut water.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.counterpulse.org/\" target=\"_blank\" rel=\"noopener\">CounterPulse, \u003c/a>a San Francisco dance presenter, announced Friday that it received a $100,000-grant from the city for renovations to the façade of its new Tenderloin District home.\u003c/p>\n\u003cp>“It became clear that (the facade renovation) was critical to our entry to the neighborhood,” said CounterPulse Artistic Director Julie Phelps during a tour of the company’s theater and offices on Turk Street.\u003c/p>\n\u003cfigure id=\"attachment_11557013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11557013\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/013-800x600.jpg\" alt=\"Counterpulse Artistic Director Julie Phelps beams as she shows off a new basement area which may become a rehearsal studio\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Counterpulse Artistic Director Julie Phelps beams as she shows off a new basement area which may become a rehearsal studio \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://oewd.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Office of Economic and Workforce Development\u003c/a>, \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">Arts Commission,\u003c/a> and the \u003ca href=\"http://sfgfta.org/\" target=\"_blank\" rel=\"noopener\">Grants for the Arts/Hotel Tax Fund\u003c/a> all contributed to the grant. “They all worked together, which is very rare,” Phelps said. \u003c/p>\n\u003cp>The state-of-the-art facility is the result of a pilot partnership between CounterPulse and the Community Arts Stabilization Trust (CAST) to help arts organizations survive San Francisco’s real estate boom.\u003c/p>\n\u003cp>“We are thrilled to support CounterPulse in seeing the building renovation through to the end,” said Director of Cultural Affairs Tom DeCaigny in a statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The money will pay for renovating and fully-furnishing the interior of CounterPulse’s new venue, which is a former porn theater. Among the ongoing renovations is the restoration of the theater’s historic facade, including replacement of its neon signage. \u003c/p>\n\u003cfigure id=\"attachment_11557012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11557012\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/011-e1462567283779-800x496.jpg\" alt=\"Specially ordered signs mark the unisex bathrooms at Counterpulse\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-400x248.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-1180x732.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-1920x1191.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-960x596.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Specially ordered signs mark the unisex bathrooms at Counterpulse \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CounterPulse sort-of opened last fall, with a few performances in the still raw space. Phelps beamed with pride Friday as she showed two reporters around the almost-finished interior, with its 115-seat theater, new lobby, and unisex bathrooms. “I had to special order the signs,” Phelps said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>A hard opening for CounterPulse’s new space is scheduled for \u003ca href=\"http://www.counterpulse.org/event/magenta/\" target=\"_blank\" rel=\"noopener\">June 23\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.counterpulse.org/\" target=\"_blank\" rel=\"noopener\">CounterPulse, \u003c/a>a San Francisco dance presenter, announced Friday that it received a $100,000-grant from the city for renovations to the façade of its new Tenderloin District home.\u003c/p>\n\u003cp>“It became clear that (the facade renovation) was critical to our entry to the neighborhood,” said CounterPulse Artistic Director Julie Phelps during a tour of the company’s theater and offices on Turk Street.\u003c/p>\n\u003cfigure id=\"attachment_11557013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11557013\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/013-800x600.jpg\" alt=\"Counterpulse Artistic Director Julie Phelps beams as she shows off a new basement area which may become a rehearsal studio\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Counterpulse Artistic Director Julie Phelps beams as she shows off a new basement area which may become a rehearsal studio \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://oewd.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Office of Economic and Workforce Development\u003c/a>, \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">Arts Commission,\u003c/a> and the \u003ca href=\"http://sfgfta.org/\" target=\"_blank\" rel=\"noopener\">Grants for the Arts/Hotel Tax Fund\u003c/a> all contributed to the grant. “They all worked together, which is very rare,” Phelps said. \u003c/p>\n\u003cp>The state-of-the-art facility is the result of a pilot partnership between CounterPulse and the Community Arts Stabilization Trust (CAST) to help arts organizations survive San Francisco’s real estate boom.\u003c/p>\n\u003cp>“We are thrilled to support CounterPulse in seeing the building renovation through to the end,” said Director of Cultural Affairs Tom DeCaigny in a statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The money will pay for renovating and fully-furnishing the interior of CounterPulse’s new venue, which is a former porn theater. Among the ongoing renovations is the restoration of the theater’s historic facade, including replacement of its neon signage. \u003c/p>\n\u003cfigure id=\"attachment_11557012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11557012\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/011-e1462567283779-800x496.jpg\" alt=\"Specially ordered signs mark the unisex bathrooms at Counterpulse\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-400x248.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-1180x732.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-1920x1191.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-960x596.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Specially ordered signs mark the unisex bathrooms at Counterpulse \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CounterPulse sort-of opened last fall, with a few performances in the still raw space. Phelps beamed with pride Friday as she showed two reporters around the almost-finished interior, with its 115-seat theater, new lobby, and unisex bathrooms. “I had to special order the signs,” Phelps said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>A hard opening for CounterPulse’s new space is scheduled for \u003ca href=\"http://www.counterpulse.org/event/magenta/\" target=\"_blank\" rel=\"noopener\">June 23\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://deborahvoigt.com/\" target=\"_blank\" rel=\"noopener\">Deborah Voigt\u003c/a>, among the best sopranos in the opera world, will join the full-time faculty at the \u003ca href=\"https://sfcm.edu/\" target=\"_blank\" rel=\"noopener\">San Francisco Conservatory of Music\u003c/a> (SFCM) this fall.\u003c/p>\n\u003cp>Voigt, known for her mastery of dramatic roles in operas by Wagner and Strauss, and the occasional foray into Broadway standards, will teach private lessons and masterclasses at SFCM.\u003c/p>\n\u003cp>In a statement, SFCM President David H. Stull said Voigt “is one of the rare superstars who is a highly gifted teacher and genuinely enjoys working with young artists. We are thrilled to have her with us.”\u003c/p>\n\u003cp>Voigt has strong ties to California and San Francisco. Her family moved to Placentia in Southern California, when she was 14. In 1985, she received professional training as a member of the \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Merola Opera Program at San Francisco Opera\u003c/a>, and later she joined the SF Opera \u003ca href=\"http://sfopera.com/about-us/opera-center/adler-fellowship-program/\" target=\"_blank\" rel=\"noopener\">Adler Fellowship Program\u003c/a>. Voigt is offering the West Coast premiere of her one woman show \u003cem>Voigt Lessons, \u003c/em>May 6 and 8 at the \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab\u003c/a>.\u003c/p>\n\u003cp>Voigt’s faculty appointment is being supported by the Voigt Consortium, initiated with a lead gift and challenge grant from Diane B. Wilsey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://deborahvoigt.com/\" target=\"_blank\" rel=\"noopener\">Deborah Voigt\u003c/a>, among the best sopranos in the opera world, will join the full-time faculty at the \u003ca href=\"https://sfcm.edu/\" target=\"_blank\" rel=\"noopener\">San Francisco Conservatory of Music\u003c/a> (SFCM) this fall.\u003c/p>\n\u003cp>Voigt, known for her mastery of dramatic roles in operas by Wagner and Strauss, and the occasional foray into Broadway standards, will teach private lessons and masterclasses at SFCM.\u003c/p>\n\u003cp>In a statement, SFCM President David H. Stull said Voigt “is one of the rare superstars who is a highly gifted teacher and genuinely enjoys working with young artists. We are thrilled to have her with us.”\u003c/p>\n\u003cp>Voigt has strong ties to California and San Francisco. Her family moved to Placentia in Southern California, when she was 14. In 1985, she received professional training as a member of the \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Merola Opera Program at San Francisco Opera\u003c/a>, and later she joined the SF Opera \u003ca href=\"http://sfopera.com/about-us/opera-center/adler-fellowship-program/\" target=\"_blank\" rel=\"noopener\">Adler Fellowship Program\u003c/a>. Voigt is offering the West Coast premiere of her one woman show \u003cem>Voigt Lessons, \u003c/em>May 6 and 8 at the \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab\u003c/a>.\u003c/p>\n\u003cp>Voigt’s faculty appointment is being supported by the Voigt Consortium, initiated with a lead gift and challenge grant from Diane B. Wilsey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Was a California doctor acting legally when he sent his son to Prince’s home with a drug often used to treat people addicted to opiates such as prescription painkillers?\u003c/p>\n\u003cp>Dr. Howard Kornfeld may have been trying to help, but he was not licensed to practice medicine in Minnesota and was not registered to care for patients there via telemedicine, as the state requires. His son, Andrew Kornfeld, who has been described as a pre-med student, was not a licensed prescriber.\u003c/p>\n\u003cp>[contextly_sidebar id=”Vb9F76LKwn3MB8o6DBmjnKxjN3IHMY2K”]\u003c/p>\n\u003cp>The pair may need to rely on loopholes and broad, generous readings of federal and state laws to justify why the younger Kornfeld carried buprenorphine to Minnesota on an April 20 redeye flight. Attorneys and physicians have described the action as unusual and even absurd.\u003c/p>\n\u003cp>Dozens of doctors are authorized to prescribe buprenorphine in Minnesota, so it’s unclear why Kornfeld felt he needed to send his son with the drug, which is used to ease withdrawal and cravings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Kornfelds did not respond to several messages this week from The Associated Press. No one has suggested that Prince took the buprenorphine provided by them.\u003c/p>\n\u003cp>Their attorney, William Mauzy, has said that he believes Andrew Kornfeld — who placed the 911 call when Prince was found unresponsive at his home — is protected from any charges by a Minnesota law that generally shields anyone seeking medical assistance for a person overdosing on drugs.\u003c/p>\n\u003cp>Mauzy did not immediately respond to a request Thursday for an interview.\u003c/p>\n\u003cp>Regulators in Minnesota have several ways they could approach the situation. Minnesota’s medical board has jurisdiction to investigate someone who practices medicine without a state license or a telemedicine registration.\u003c/p>\n\u003cp>Dr. Kornfeld did not have either, said Ruth Martinez, executive director of the Minnesota Board of Medical Practice. Martinez said she could not comment on whether the board is investigating Kornfeld’s actions or whether it has received a complaint.\u003c/p>\n\u003cp>The Minnesota telemedicine law has an exemption for “an emergency medical condition,” but it’s questionable whether that would be enough to cover a situation in which a doctor without a Minnesota license sent a Schedule III controlled substance across state lines with a person who was not a physician.\u003c/p>\n\u003cp>Minneapolis defense attorney Joe Friedberg said it’s illegal to prescribe a controlled substance without a face-to-face meeting with the patient.\u003c/p>\n\u003cp>Cody Wiberg, executive director of the Minnesota Board of Pharmacy, agreed, saying prescriptions for controlled substances “are not legal unless there has been an in-person examination of the patient.”\u003c/p>\n\u003cp>Kornfeld never met or spoke to Prince before Prince’s representatives contacted him on April 20, according to Mauzy, who said Kornfeld arranged for Prince to be evaluated by a Minnesota physician on April 21, the day he died. The attorney refused to identify the Minnesota doctor, and it was not clear if that person had a prior relationship with Prince.\u003c/p>\n\u003cp>Did Prince’s concerns about privacy force Kornfeld to act as he did?\u003c/p>\n\u003cp>“Sometimes the patient dictates the ground rules and you do your best to help them,” said Dr. R. Corey Waller, a pain and addiction specialist at Spectrum Health Medical Group in Grand Rapids, Michigan.\u003c/p>\n\u003cp>Autopsy results have not been released. Toxicology tests may show what, if any, drugs were in Prince’s system when he died and whether any were at levels high enough to be dangerous.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press Writer Steve Karnowski in Minneapolis 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>\u003c/p>\n\u003cp>The Kornfelds did not respond to several messages this week from The Associated Press. No one has suggested that Prince took the buprenorphine provided by them.\u003c/p>\n\u003cp>Their attorney, William Mauzy, has said that he believes Andrew Kornfeld — who placed the 911 call when Prince was found unresponsive at his home — is protected from any charges by a Minnesota law that generally shields anyone seeking medical assistance for a person overdosing on drugs.\u003c/p>\n\u003cp>Mauzy did not immediately respond to a request Thursday for an interview.\u003c/p>\n\u003cp>Regulators in Minnesota have several ways they could approach the situation. Minnesota’s medical board has jurisdiction to investigate someone who practices medicine without a state license or a telemedicine registration.\u003c/p>\n\u003cp>Dr. Kornfeld did not have either, said Ruth Martinez, executive director of the Minnesota Board of Medical Practice. Martinez said she could not comment on whether the board is investigating Kornfeld’s actions or whether it has received a complaint.\u003c/p>\n\u003cp>The Minnesota telemedicine law has an exemption for “an emergency medical condition,” but it’s questionable whether that would be enough to cover a situation in which a doctor without a Minnesota license sent a Schedule III controlled substance across state lines with a person who was not a physician.\u003c/p>\n\u003cp>Minneapolis defense attorney Joe Friedberg said it’s illegal to prescribe a controlled substance without a face-to-face meeting with the patient.\u003c/p>\n\u003cp>Cody Wiberg, executive director of the Minnesota Board of Pharmacy, agreed, saying prescriptions for controlled substances “are not legal unless there has been an in-person examination of the patient.”\u003c/p>\n\u003cp>Kornfeld never met or spoke to Prince before Prince’s representatives contacted him on April 20, according to Mauzy, who said Kornfeld arranged for Prince to be evaluated by a Minnesota physician on April 21, the day he died. The attorney refused to identify the Minnesota doctor, and it was not clear if that person had a prior relationship with Prince.\u003c/p>\n\u003cp>Did Prince’s concerns about privacy force Kornfeld to act as he did?\u003c/p>\n\u003cp>“Sometimes the patient dictates the ground rules and you do your best to help them,” said Dr. R. Corey Waller, a pain and addiction specialist at Spectrum Health Medical Group in Grand Rapids, Michigan.\u003c/p>\n\u003cp>Autopsy results have not been released. Toxicology tests may show what, if any, drugs were in Prince’s system when he died and whether any were at levels high enough to be dangerous.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press Writer Steve Karnowski in Minneapolis 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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"content": "\u003cp>Hey Beyhive! Have you been playing Beyoncé’s \u003ci>LEMONADE\u003c/i> since its release but didn’t buy those \u003ci>Formation World Tour\u003c/i> tickets for her concert at Levi’s Stadium later this month? Well, that’s no surprise — those tickets \u003ca href=\"https://twitter.com/beyoncetour2016/status/702094259294371840\" target=\"_blank\" rel=\"noopener\">were all bought up\u003c/a> not long after they \u003ca href=\"http://ww2.kqed.org/arts/2016/02/07/ticket-alert-beyonces-formation-tour-coming-to-levis-stadium/\" target=\"_blank\" rel=\"noopener\">went on sale \u003c/a>to the general public. \u003c/p>\n\u003cp>Lucky for you, the Queen Bey announced Thursday that she would be adding seven more shows to the tour, including another show at Levi’s Stadium in Santa Clara on Sept. 17. The ticket presale began the morning she announced the new dates, with advance tickets being made available to \u003ca href=\"http://www.thebeyhive.com/board/\" target=\"_blank\" rel=\"noopener\">Beyhive Fan Club\u003c/a> members. American Express® card holders can buy tickets before the general public starting Friday, May 6 at 10am. The public can buy them starting Friday, May 13 at 10am.\u003c/p>\n\u003cp>Ticket prices for the Sept. 17 concert range $45 to $305 and can be bought online from \u003ca href=\"http://www.ticketmaster.com/beyonce-the-formation-world-tour-santa-clara-california-09-17-2016/event/1C0050948EE32832?artistid=894191&majorcatid=10001&minorcatid=202\" target=\"_blank\" rel=\"noopener\">Ticketmaster\u003c/a>. \u003c/p>\n\u003cp>And if you wondering if you should buy tickets, know that the secondary market is still an option, but at a cost. A few tickets are available for resale on for the \u003ca href=\"http://www.ticketmaster.com/beyonce-the-formation-world-tour-santa-clara-california-05-16-2016/event/1C005046003490EC?artistid=894191&majorcatid=10001&minorcatid=202&tm_link=artist_msg-0_1C005046003490EC\" target=\"_blank\" rel=\"noopener\">May 16 show\u003c/a> for much higher prices.\u003c/p>\n\u003cp>\u003ci>Wanna get pumped up for buying those tickets? Listen to “Formation” again.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/LrCHz1gwzTo\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hey Beyhive! Have you been playing Beyoncé’s \u003ci>LEMONADE\u003c/i> since its release but didn’t buy those \u003ci>Formation World Tour\u003c/i> tickets for her concert at Levi’s Stadium later this month? Well, that’s no surprise — those tickets \u003ca href=\"https://twitter.com/beyoncetour2016/status/702094259294371840\" target=\"_blank\" rel=\"noopener\">were all bought up\u003c/a> not long after they \u003ca href=\"http://ww2.kqed.org/arts/2016/02/07/ticket-alert-beyonces-formation-tour-coming-to-levis-stadium/\" target=\"_blank\" rel=\"noopener\">went on sale \u003c/a>to the general public. \u003c/p>\n\u003cp>Lucky for you, the Queen Bey announced Thursday that she would be adding seven more shows to the tour, including another show at Levi’s Stadium in Santa Clara on Sept. 17. The ticket presale began the morning she announced the new dates, with advance tickets being made available to \u003ca href=\"http://www.thebeyhive.com/board/\" target=\"_blank\" rel=\"noopener\">Beyhive Fan Club\u003c/a> members. American Express® card holders can buy tickets before the general public starting Friday, May 6 at 10am. The public can buy them starting Friday, May 13 at 10am.\u003c/p>\n\u003cp>Ticket prices for the Sept. 17 concert range $45 to $305 and can be bought online from \u003ca href=\"http://www.ticketmaster.com/beyonce-the-formation-world-tour-santa-clara-california-09-17-2016/event/1C0050948EE32832?artistid=894191&majorcatid=10001&minorcatid=202\" target=\"_blank\" rel=\"noopener\">Ticketmaster\u003c/a>. \u003c/p>\n\u003cp>And if you wondering if you should buy tickets, know that the secondary market is still an option, but at a cost. A few tickets are available for resale on for the \u003ca href=\"http://www.ticketmaster.com/beyonce-the-formation-world-tour-santa-clara-california-05-16-2016/event/1C005046003490EC?artistid=894191&majorcatid=10001&minorcatid=202&tm_link=artist_msg-0_1C005046003490EC\" target=\"_blank\" rel=\"noopener\">May 16 show\u003c/a> for much higher prices.\u003c/p>\n\u003cp>\u003ci>Wanna get pumped up for buying those tickets? Listen to “Formation” again.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Beautiful Design Only Carries Berkeley Rep's 'Treasure Island' So Far",
"headTitle": "Beautiful Design Only Carries Berkeley Rep’s ‘Treasure Island’ So Far | KQED",
"content": "\u003cp>There are many exceptional qualities to Mary Zimmerman’s adaptation of Robert Louis Stevenson’s \u003ca href=\"http://www.berkeleyrep.org/season/1516/9314.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Treasure Island\u003c/em>\u003c/a> at the Berkeley Repertory Theatre. And the first and most obvious is the famed American director’s desire to catch a state of mind, a way of seeing the world that is peculiar to young boys. Jim Hawkins, the young protagonist of Stevenson’s classic adventure novel, is caught somewhere between despair (his father has died) and domestic servitude (he works in the family pub). Jim is both too old for his years and oppressed by circumstance. It is the perfect recipe for dreaminess and rash action.\u003c/p>\n\u003cp>We feel all of Jim’s contradictory impulses in Todd Rosenthal’s beautifully designed set, T.J. Gercken’s lighting, and Ana Kuzmanic’s costumes. The ripped and ragged scrim, a shifting kaleidoscope of deep blues and oranges, captures the twin poles of Jim’s world — the sea that promises escape and the sun that presages awareness and knowledge. Under Gercken’s subtle lighting, the dance between the two is as surprising as Stevenson’s crazy pirate tale.\u003c/p>\n\u003cp>The massive platform that bisects the stage is imposing, yet transitory. It’s a dock, a schooner, an abandoned military garrison. Each time it shifts we understand that for Jim, wherever he goes, the world is both overwhelming and in danger of drifting away.\u003c/p>\n\u003cfigure id=\"attachment_11548427\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11548427\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/TI8-800x533.jpg\" alt=\"(l to r) Steve Pickering (ensemble), John Babbo (Jim Hawkins), Matthew C. Yee (Abraham Gray), Christopher Donahue (Redruth), Steven Epp (Long John Silver), and Alex Moggridge (Dr. Livesey). Photo: Kevin Berne.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI8-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI8-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI8-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI8-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l to r) Steve Pickering (ensemble), John Babbo (Jim Hawkins), Matthew C. Yee (Abraham Gray), Christopher Donahue (Redruth), Steven Epp (Long John Silver), and Alex Moggridge (Dr. Livesey). Photo: Kevin Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>That is part of the beauty of Stevenson’s vision of youth: we want to escape, to get away fast, but we’re also desperate for solid ground. For a boy whose home and family are crumbling, this dash to the sea for adventure, camaraderie, and treasure is a last gasp attempt for a freer, richer life. How many disadvantaged boys in America must feel the same, not to mention the rest of the world?\u003c/p>\n\u003cp>What’s clear in both Stevenson’s novel and Zimmerman’s production is that pirates are both the catalyst for — and the barrier to — Jim’s hopes. Without them he goes nowhere. But with them he is in constant danger of losing his soul and life. It is an achingly painful predicament, and one that Jim barely understands. His lack of awareness makes it all the more painful to watch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Led by the remarkable actor Steven Epp as the duplicitous killer Long John Silver, the cast manages to fulfill our expectations of pirates while steering clear of pop culture clichés. The pirates look like pirates. But they look that way out of need, not sartorial whim. When they draw a sword or a knife, it feels precise and compact, as if they, like us, dress for what they have to do. It is the trickiest of the production’s many triumphs of design and grounds us in Jim’s confusion. Where he sees swashbuckling style, we see killers.\u003c/p>\n\u003cp>This is the reason we keep coming back to \u003cem>Treasure Island\u003c/em> again and again. There are so many possibilities in this theatrical retelling of the classic tale — a morally compromised adventure, fascinating characters, real ideas, and brilliant design — and yet Zimmerman doesn’t quite achieve dramatic forcefulness and focus.\u003c/p>\n\u003cfigure id=\"attachment_11548430\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11548430\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/TI13-800x532.jpg\" alt=\"(l to r) Kasey Foster (George Merry), Demetrios Troy (ensemble), Steven Epp (Long John Silver), Travis Delgado (Dick), Anthony Irons (Morgan), and Christopher Donahue (Johnny). Photo: Kevin Berne.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI13-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI13-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI13-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI13-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI13-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI13-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l to r) Kasey Foster (George Merry), Demetrios Troy (ensemble), Steven Epp (Long John Silver), Travis Delgado (Dick), Anthony Irons (Morgan), and Christopher Donahue (Johnny). Photo: Kevin Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>We watch Silver brutally murder a man. That’s great, and Epp doesn’t stint on the violence. Yet for most of the last 20 or 30 minutes, his character doesn’t act, but is instead merely a function of a series of plot machinations that are mostly narrated. The baroque explanations of his shifting allegiances just don’t work on stage. When Jim exclaims to Silver, “So you’re changing sides again,” the effect is dramatically deflating and not the revelation that the line should be. It’s a waste of villainy and the reckless abandon so crucial to tales of youth and adventure.\u003c/p>\n\u003cp>Chained to Stevenson’s story, Zimmerman both reduces it to mere events and mires us in over complication. She’s capable of random moments of beauty, like Jim’s silent retreat after killing a murderous pirate, and the vision of a cave of gold. But the last third of the production feels more like a task to be completed than the end of a harrowing adventure.\u003c/p>\n\u003cp>The notion of adapting a literary work for the stage versus writing an original play is a strange one. They’re the same act, essentially. Both involve the ordering of scenes, presentation of characters, and writing of lines. And yet there’s a crucial aesthetic and cultural difference between the two. The adapter seeks to honor and preserve the material, whereas the playwright (at least a good one) is free to follow all the forces of the imagination — even the most destructive ones. Zimmerman’s production has ambition and energy, but her writing is reverent and flat.\u003c/p>\n\u003cp>From her forays into loose-leafed epics like \u003cem>The Notebooks of Leonardo da Vinci \u003c/em>and \u003cem>The Arabian Nights, \u003c/em>to her retelling of Jason and the Argonauts, \u003cem>Argautika, \u003c/em>and her adaption of the 16th century Chinese novel, \u003cem>Journey to the West\u003c/em>, Zimmerman has never had the natural verve of a storyteller. Ultimately, this auteur has the heart of a designer: she illustrates. By undermining the complexity of the material before her, Zimmerman shows no inclination to wrest \u003cem>Treasure Island\u003c/em> from Stevenson, as a great artist would. Instead, she gives us a beautifully designed act of homage, but not a play that is new, wild, and necessary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Treasure Island\u003c/em> plays through Sunday, Jun. 19, 2016 at Berkeley Repertory Theatre. For tickets and information go to www.berkeleyrep.org.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are many exceptional qualities to Mary Zimmerman’s adaptation of Robert Louis Stevenson’s \u003ca href=\"http://www.berkeleyrep.org/season/1516/9314.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Treasure Island\u003c/em>\u003c/a> at the Berkeley Repertory Theatre. And the first and most obvious is the famed American director’s desire to catch a state of mind, a way of seeing the world that is peculiar to young boys. Jim Hawkins, the young protagonist of Stevenson’s classic adventure novel, is caught somewhere between despair (his father has died) and domestic servitude (he works in the family pub). Jim is both too old for his years and oppressed by circumstance. It is the perfect recipe for dreaminess and rash action.\u003c/p>\n\u003cp>We feel all of Jim’s contradictory impulses in Todd Rosenthal’s beautifully designed set, T.J. Gercken’s lighting, and Ana Kuzmanic’s costumes. The ripped and ragged scrim, a shifting kaleidoscope of deep blues and oranges, captures the twin poles of Jim’s world — the sea that promises escape and the sun that presages awareness and knowledge. Under Gercken’s subtle lighting, the dance between the two is as surprising as Stevenson’s crazy pirate tale.\u003c/p>\n\u003cp>The massive platform that bisects the stage is imposing, yet transitory. It’s a dock, a schooner, an abandoned military garrison. Each time it shifts we understand that for Jim, wherever he goes, the world is both overwhelming and in danger of drifting away.\u003c/p>\n\u003cfigure id=\"attachment_11548427\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11548427\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/TI8-800x533.jpg\" alt=\"(l to r) Steve Pickering (ensemble), John Babbo (Jim Hawkins), Matthew C. Yee (Abraham Gray), Christopher Donahue (Redruth), Steven Epp (Long John Silver), and Alex Moggridge (Dr. Livesey). Photo: Kevin Berne.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI8-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI8-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI8-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI8-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l to r) Steve Pickering (ensemble), John Babbo (Jim Hawkins), Matthew C. Yee (Abraham Gray), Christopher Donahue (Redruth), Steven Epp (Long John Silver), and Alex Moggridge (Dr. Livesey). Photo: Kevin Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>That is part of the beauty of Stevenson’s vision of youth: we want to escape, to get away fast, but we’re also desperate for solid ground. For a boy whose home and family are crumbling, this dash to the sea for adventure, camaraderie, and treasure is a last gasp attempt for a freer, richer life. How many disadvantaged boys in America must feel the same, not to mention the rest of the world?\u003c/p>\n\u003cp>What’s clear in both Stevenson’s novel and Zimmerman’s production is that pirates are both the catalyst for — and the barrier to — Jim’s hopes. Without them he goes nowhere. But with them he is in constant danger of losing his soul and life. It is an achingly painful predicament, and one that Jim barely understands. His lack of awareness makes it all the more painful to watch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Led by the remarkable actor Steven Epp as the duplicitous killer Long John Silver, the cast manages to fulfill our expectations of pirates while steering clear of pop culture clichés. The pirates look like pirates. But they look that way out of need, not sartorial whim. When they draw a sword or a knife, it feels precise and compact, as if they, like us, dress for what they have to do. It is the trickiest of the production’s many triumphs of design and grounds us in Jim’s confusion. Where he sees swashbuckling style, we see killers.\u003c/p>\n\u003cp>This is the reason we keep coming back to \u003cem>Treasure Island\u003c/em> again and again. There are so many possibilities in this theatrical retelling of the classic tale — a morally compromised adventure, fascinating characters, real ideas, and brilliant design — and yet Zimmerman doesn’t quite achieve dramatic forcefulness and focus.\u003c/p>\n\u003cfigure id=\"attachment_11548430\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11548430\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/TI13-800x532.jpg\" alt=\"(l to r) Kasey Foster (George Merry), Demetrios Troy (ensemble), Steven Epp (Long John Silver), Travis Delgado (Dick), Anthony Irons (Morgan), and Christopher Donahue (Johnny). Photo: Kevin Berne.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI13-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI13-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI13-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI13-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI13-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/TI13-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l to r) Kasey Foster (George Merry), Demetrios Troy (ensemble), Steven Epp (Long John Silver), Travis Delgado (Dick), Anthony Irons (Morgan), and Christopher Donahue (Johnny). Photo: Kevin Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>We watch Silver brutally murder a man. That’s great, and Epp doesn’t stint on the violence. Yet for most of the last 20 or 30 minutes, his character doesn’t act, but is instead merely a function of a series of plot machinations that are mostly narrated. The baroque explanations of his shifting allegiances just don’t work on stage. When Jim exclaims to Silver, “So you’re changing sides again,” the effect is dramatically deflating and not the revelation that the line should be. It’s a waste of villainy and the reckless abandon so crucial to tales of youth and adventure.\u003c/p>\n\u003cp>Chained to Stevenson’s story, Zimmerman both reduces it to mere events and mires us in over complication. She’s capable of random moments of beauty, like Jim’s silent retreat after killing a murderous pirate, and the vision of a cave of gold. But the last third of the production feels more like a task to be completed than the end of a harrowing adventure.\u003c/p>\n\u003cp>The notion of adapting a literary work for the stage versus writing an original play is a strange one. They’re the same act, essentially. Both involve the ordering of scenes, presentation of characters, and writing of lines. And yet there’s a crucial aesthetic and cultural difference between the two. The adapter seeks to honor and preserve the material, whereas the playwright (at least a good one) is free to follow all the forces of the imagination — even the most destructive ones. Zimmerman’s production has ambition and energy, but her writing is reverent and flat.\u003c/p>\n\u003cp>From her forays into loose-leafed epics like \u003cem>The Notebooks of Leonardo da Vinci \u003c/em>and \u003cem>The Arabian Nights, \u003c/em>to her retelling of Jason and the Argonauts, \u003cem>Argautika, \u003c/em>and her adaption of the 16th century Chinese novel, \u003cem>Journey to the West\u003c/em>, Zimmerman has never had the natural verve of a storyteller. Ultimately, this auteur has the heart of a designer: she illustrates. By undermining the complexity of the material before her, Zimmerman shows no inclination to wrest \u003cem>Treasure Island\u003c/em> from Stevenson, as a great artist would. Instead, she gives us a beautifully designed act of homage, but not a play that is new, wild, and necessary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Treasure Island\u003c/em> plays through Sunday, Jun. 19, 2016 at Berkeley Repertory Theatre. For tickets and information go to www.berkeleyrep.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Alex Brightman, currently playing the lead role in the Broadway adaptation of the movie \u003ci>School of Rock,\u003c/i> was nominated for a Tony Award this week.\u003c/p>\n\u003cp>Brightman is up for “\u003ca href=\"https://www.facebook.com/TheTonyAwards/photos/pb.167382600337.-2207520000.1462402702./10156905606705338/\" target=\"_blank\" rel=\"noopener\">Best Actor in a Musical\u003c/a>,” pitting him against Lin-Manuel Miranda and Leslie Odom Jr. of \u003cem>Hamilton: An American Musical,\u003c/em> among others. The nominations were announced Tuesday morning.\u003c/p>\n\u003cp>Born in Saratoga, Brightman \u003ca href=\"http://www.mercurynews.com/ci_19386987?IADID\" target=\"_blank\" rel=\"noopener\">says he began acting\u003c/a> when he was a child with the \u003ca href=\"http://www.cmtsj.org/\" target=\"_blank\" rel=\"noopener\">Children’s Musical Theater of San Jose\u003c/a> and later, \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">TheatreWorks\u003c/a> in Silicon Valley. After graduating from Bellarmine College Preparatory in San Jose in 2005, Brightman headed to New York City for college. After two years, he began booking roles in Los Angeles and New York, including \u003ca href=\"https://www.facebook.com/notes/theatreworks-silicon-valley/in-the-theatreworks-spotlight-alex-brightman/10150412878861304/\" target=\"_blank\" rel=\"noopener\">a two-year stint as Bo\u003c/a>q in the Broadway production of \u003ci>Wicked.\u003c/i>\u003c/p>\n\u003cp>In \u003ci>School of Rock,\u003c/i> Brightman plays Dewey Finn, the struggling rocker-turned-teacher character played by Jack Black in the hit, 2003 film upon which the musical is based. It’s the actor’s first starring role in a Broadway production, which opened last November.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alex Brightman, currently playing the lead role in the Broadway adaptation of the movie \u003ci>School of Rock,\u003c/i> was nominated for a Tony Award this week.\u003c/p>\n\u003cp>Brightman is up for “\u003ca href=\"https://www.facebook.com/TheTonyAwards/photos/pb.167382600337.-2207520000.1462402702./10156905606705338/\" target=\"_blank\" rel=\"noopener\">Best Actor in a Musical\u003c/a>,” pitting him against Lin-Manuel Miranda and Leslie Odom Jr. of \u003cem>Hamilton: An American Musical,\u003c/em> among others. The nominations were announced Tuesday morning.\u003c/p>\n\u003cp>Born in Saratoga, Brightman \u003ca href=\"http://www.mercurynews.com/ci_19386987?IADID\" target=\"_blank\" rel=\"noopener\">says he began acting\u003c/a> when he was a child with the \u003ca href=\"http://www.cmtsj.org/\" target=\"_blank\" rel=\"noopener\">Children’s Musical Theater of San Jose\u003c/a> and later, \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">TheatreWorks\u003c/a> in Silicon Valley. After graduating from Bellarmine College Preparatory in San Jose in 2005, Brightman headed to New York City for college. After two years, he began booking roles in Los Angeles and New York, including \u003ca href=\"https://www.facebook.com/notes/theatreworks-silicon-valley/in-the-theatreworks-spotlight-alex-brightman/10150412878861304/\" target=\"_blank\" rel=\"noopener\">a two-year stint as Bo\u003c/a>q in the Broadway production of \u003ci>Wicked.\u003c/i>\u003c/p>\n\u003cp>In \u003ci>School of Rock,\u003c/i> Brightman plays Dewey Finn, the struggling rocker-turned-teacher character played by Jack Black in the hit, 2003 film upon which the musical is based. It’s the actor’s first starring role in a Broadway production, which opened last November.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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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"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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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.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"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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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"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",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
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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": {
"site": "news",
"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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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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",
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