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"title": "Lawyers Say Johnny Depp's Wife Gave Statement to Police | KQED",
"description": "Amber Heard says Depp threw a cell phone at her, hitting her below her right eye, on May 21. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Johnny Depp’s estranged wife has given Los Angeles police a statement to support her account of an alleged domestic violence incident involving the actor, her lawyers said Tuesday.\u003c/p>\n\u003cp>Attorneys Samantha Spector and Joseph P. Koenig wrote in a statement that model-actress Amber Heard had spoken to Los Angeles police. The statement did not indicate when Heard gave the statement, and the Los Angeles Police Department says it has no information about Heard speaking with officers.\u003c/p>\n\u003cp>“With her statement Amber hopes to give the LAPD the opportunity to conduct an accurate and complete investigation into the events of that evening and before,” Heard’s lawyers wrote. “If that occurs, and the truth is revealed, there is no doubt that Amber’s claims will be substantiated beyond any doubt, and hopefully Johnny will get the help that he so desperately needs.”\u003c/p>\n\u003cp>Heard obtained a temporary restraining order against Depp on Friday, alleging the actor threw her cell phone at her face, striking her below the right eye during a fight on May 21.\u003c/p>\n\u003cp>Los Angeles police have said they responded to the incident but found no evidence of a crime.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Spector and Koenig wrote that Heard did not initially give a statement to police because she was trying to protect Depp’s reputation and career.\u003c/p>\n\u003cp>An email message sent to Depp’s publicist was not immediately returned Tuesday.\u003c/p>\n\u003cp>Heard submitted a photo of her bruised face when she applied for the restraining order. She also wrote that the actor pulled her hair, screamed at her and repeatedly hit her and violently grabbed her face.\u003c/p>\n\u003cp>She appeared at a Los Angeles court on Friday and had a bruise on her right cheek below the eye.\u003c/p>\n\u003cp>Heard filed for divorce on May 23, two days after the alleged abuse, citing irreconcilable differences. Depp’s lawyer has accused Heard of using the abuse allegations to try to gain an advantage on the actor in divorce proceedings. She is seeking spousal support, but Depp is asking a judge to deny that request.\u003c/p>\n\u003cp>“Amber is simply a victim of domestic violence, and none of her actions are motivated by money,” Heard’s lawyers wrote. “Amber is a brave and financially independent woman who is showing the courage of her convictions by doing the right thing against Johnny’s relentless army of lawyers and surrogates.”\u003c/p>\n\u003cp>Heard and Depp met on the set of the 2011 film “The Rum Diary” and were married for 15 months before the divorce petition was filed. Heard wrote that May 21, the day of the alleged assault, was the first time she had seen Depp in a month.\u003c/p>\n\u003cp>Depp is traveling overseas on tour with his band, Hollywood Vampires. His latest film, \u003cem>Alice Through the Looking Glass\u003c/em> bombed at the box office, earning just over $28.1 million in its opening weekend, according to figures released Sunday.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP Entertainment Writer Sandy Cohen contributed to this report. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Giant Sand-Dwelling Skeletons Descend on the Exploratorium",
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"content": "\u003cp>“The floor is very slippery here,” said Theo Jansen, helpfully positioning his foot against a flailing leg of \u003ci>Animaris Suspendisse\u003c/i> as it uncannily propelled itself across the floor of the Exploratorium.\u003c/p>\n\u003cp>The Netherlands-based Jansen was in town to celebrate the opening of \u003ca href=\"http://www.exploratorium.edu/strandbeest\" target=\"_blank\" rel=\"noopener\">\u003ci>Strandbeest: The Dream Machines of Theo Jansen\u003c/i>\u003c/a>, a traveling exhibition organized by the Peabody Essex Museum of Salem, Mass. that brought the “dream machines” to the Bay Area for the first time. \u003ci>Animaris Suspendisse\u003c/i> is used to moving across the hard-packed sands of Dutch beaches, not a museum’s polished concrete floor.\u003c/p>\n\u003cp>https://youtu.be/yTzz80fLAAQ\u003c/p>\n\u003cp>Resembling a cross between a Leonardo da Vinci flying machine and a plastic Erector Set, \u003ci>Suspendisse\u003c/i> is the latest and largest strandbeest to date, measuring in at 43 feet of PVC tubing, rubber tubes, zip ties, plastic bottles and rip-stop nylon sails.\u003c/p>\n\u003cp>Jansen began building the beests in 1990, prompted by the idea of creating a herd of machines that might be able to autonomously repair the Netherlands’ eroding coastline by moving sand from the surf zone to the dunes farther inland, continuously. In the nearly three decades since, the strandbeests have evolved over distinct periods of time — mapped on an Exploratorium wall — to become animated skeletons propelled by the wind, capable of storing compressed air and able to sense their positions on the beach by testing the hardness of the ground and the depth of the water.\u003c/p>\n\u003cfigure id=\"attachment_11634864\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200.jpg\" alt=\"Theo Jansen, Sheveningen beach, The Netherlands, 2011\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Theo Jansen, Sheveningen beach, The Netherlands, 2011. \u003ccite>(Courtesy of Theo Jansen; Photo by Loek van der Klis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for their intended purpose? The Exploratorium wall text explains, “The strandbeests did what any creature would do — they ignored human interests and pursued their own: survival and proliferation.” In other words, the beests are less interested in saving the Dutch coastline than they are in taking long walks on the beach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The spirit of \u003ci>Strandbeest: The Dream Machines of Theo Jansen\u003c/i> finds a perfect home at the Exploratorium, a museum that often resembles a really popular playground, each exhibition cleverly concealing its agenda of teaching visitors about science, art and human perception under the guise of hands-on fun. Jansen fits right in; he’s a relentless tinkerer, zip ties always at the ready. Building each new iteration of the beests during the winter, he sets them loose on the beaches of the seaside resort of Scheveningen during the prime summer months.\u003c/p>\n\u003cfigure id=\"attachment_11634872\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200.jpg\" alt=\"'Animaris Plaudens Vela,' 2013.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Animaris Plaudens Vela,’ 2013. \u003ccite>(Photo courtesy of Marco Zwinkels)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Exploratorium, whole beests are displayed alongside “fossils,” sun-bleached segments of strandbeest joints, wings and feet. The exhibition might not contain as many touchable elements as visitors to the museum are used to finding, but the beests do wake their creaky joints to participate in daily walking demonstrations, rest assured.\u003c/p>\n\u003cp>Lining the walls are photographer Lena Herzog’s large black-and-white images of Jansen standing on near-empty beaches — just a man alone with his beests, all of which dwarf him. In many of the images he’s clad, impractically, in a suit jacket and button-down shirt, the wind blowing his hair and propelling his automatons along the water’s edge.\u003c/p>\n\u003cfigure id=\"attachment_11634849\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200.jpg\" alt=\"'Animaris Rhinoceros,' 2004. An evolutionary foray into wood, according to Jansen, the one time he was "unfaithful" to PVC tubing.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Animaris Rhinoceros,’ 2004. An evolutionary foray into wood, according to Jansen, the one time he was “unfaithful” to PVC tubing. \u003ccite>(Courtesy of Theo Jansen; Photo by Loek van der Klis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beests aren’t pure whimsy. Jansen’s design decisions are often fueled by evolutionary science. The creatures’ legs were developed with the help of an iterative computer program to achieve optimal leg segment lengths, giving the beests a stable yet millipede-like gait.\u003c/p>\n\u003cp>The beests even think about self-preservation, to an extent. \u003ci>Animaris Sabulosa\u003c/i> adheres sand to its body as a form of camouflage. \u003ci>Animaris Rectus\u003c/i> hammers a stake into the sand when the wind picks up, to keep itself from blowing away.\u003c/p>\n\u003cfigure id=\"attachment_11634874\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200.jpg\" alt=\"Jansen's signature suit jacket during installation at the Exploratorium.\" width=\"1200\" height=\"799\" class=\"size-full wp-image-11634874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-960x639.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jansen’s signature suit jacket during installation at the Exploratorium. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is a retrospective show, but Jansen is far from done. His singular focus, his playful capacity to make, by hand, these strange and wonderful creatures and then claim it is they who are forcing themselves into existence, is inspiring, both for the ingenuity of Jansen’s creations and the legacy he wishes to establish. “In the next 20 years I hope to work on their future,” Jansen said. “Mark my words, by the time I leave this planet, I will leave behind a new species.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Strandbeest: The Dream Machines of Theo Jansen \u003c/b>is on view at the Exploratorium in San Francisco through September 5. For tickets and more information on a whole range of \u003ca href=\"http://www.exploratorium.edu/strandbeest/events\" target=\"_blank\" rel=\"noopener\">strandbeest-related events\u003c/a> visit \u003ca href=\"http://www.exploratorium.edu/strandbeest\" target=\"_blank\" rel=\"noopener\">exploratorium.edu\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Theo Jansen's wind-powered \"strandbeests\" journey to San Francisco in a show that's part natural history display, part fine art. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The floor is very slippery here,” said Theo Jansen, helpfully positioning his foot against a flailing leg of \u003ci>Animaris Suspendisse\u003c/i> as it uncannily propelled itself across the floor of the Exploratorium.\u003c/p>\n\u003cp>The Netherlands-based Jansen was in town to celebrate the opening of \u003ca href=\"http://www.exploratorium.edu/strandbeest\" target=\"_blank\" rel=\"noopener\">\u003ci>Strandbeest: The Dream Machines of Theo Jansen\u003c/i>\u003c/a>, a traveling exhibition organized by the Peabody Essex Museum of Salem, Mass. that brought the “dream machines” to the Bay Area for the first time. \u003ci>Animaris Suspendisse\u003c/i> is used to moving across the hard-packed sands of Dutch beaches, not a museum’s polished concrete floor.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yTzz80fLAAQ'\n title='//www.youtube.com/embed/yTzz80fLAAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Resembling a cross between a Leonardo da Vinci flying machine and a plastic Erector Set, \u003ci>Suspendisse\u003c/i> is the latest and largest strandbeest to date, measuring in at 43 feet of PVC tubing, rubber tubes, zip ties, plastic bottles and rip-stop nylon sails.\u003c/p>\n\u003cp>Jansen began building the beests in 1990, prompted by the idea of creating a herd of machines that might be able to autonomously repair the Netherlands’ eroding coastline by moving sand from the surf zone to the dunes farther inland, continuously. In the nearly three decades since, the strandbeests have evolved over distinct periods of time — mapped on an Exploratorium wall — to become animated skeletons propelled by the wind, capable of storing compressed air and able to sense their positions on the beach by testing the hardness of the ground and the depth of the water.\u003c/p>\n\u003cfigure id=\"attachment_11634864\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200.jpg\" alt=\"Theo Jansen, Sheveningen beach, The Netherlands, 2011\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LVDKTheo_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Theo Jansen, Sheveningen beach, The Netherlands, 2011. \u003ccite>(Courtesy of Theo Jansen; Photo by Loek van der Klis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for their intended purpose? The Exploratorium wall text explains, “The strandbeests did what any creature would do — they ignored human interests and pursued their own: survival and proliferation.” In other words, the beests are less interested in saving the Dutch coastline than they are in taking long walks on the beach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The spirit of \u003ci>Strandbeest: The Dream Machines of Theo Jansen\u003c/i> finds a perfect home at the Exploratorium, a museum that often resembles a really popular playground, each exhibition cleverly concealing its agenda of teaching visitors about science, art and human perception under the guise of hands-on fun. Jansen fits right in; he’s a relentless tinkerer, zip ties always at the ready. Building each new iteration of the beests during the winter, he sets them loose on the beaches of the seaside resort of Scheveningen during the prime summer months.\u003c/p>\n\u003cfigure id=\"attachment_11634872\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200.jpg\" alt=\"'Animaris Plaudens Vela,' 2013.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Plaudens-Vela-MarcoZwinkels-silent-beach-2013_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Animaris Plaudens Vela,’ 2013. \u003ccite>(Photo courtesy of Marco Zwinkels)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Exploratorium, whole beests are displayed alongside “fossils,” sun-bleached segments of strandbeest joints, wings and feet. The exhibition might not contain as many touchable elements as visitors to the museum are used to finding, but the beests do wake their creaky joints to participate in daily walking demonstrations, rest assured.\u003c/p>\n\u003cp>Lining the walls are photographer Lena Herzog’s large black-and-white images of Jansen standing on near-empty beaches — just a man alone with his beests, all of which dwarf him. In many of the images he’s clad, impractically, in a suit jacket and button-down shirt, the wind blowing his hair and propelling his automatons along the water’s edge.\u003c/p>\n\u003cfigure id=\"attachment_11634849\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200.jpg\" alt=\"'Animaris Rhinoceros,' 2004. An evolutionary foray into wood, according to Jansen, the one time he was "unfaithful" to PVC tubing.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11634849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/loek-van-der-klis-26Animaris-Rhinoceros-Vliegveld-Valkenburg-2004-kopie_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Animaris Rhinoceros,’ 2004. An evolutionary foray into wood, according to Jansen, the one time he was “unfaithful” to PVC tubing. \u003ccite>(Courtesy of Theo Jansen; Photo by Loek van der Klis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beests aren’t pure whimsy. Jansen’s design decisions are often fueled by evolutionary science. The creatures’ legs were developed with the help of an iterative computer program to achieve optimal leg segment lengths, giving the beests a stable yet millipede-like gait.\u003c/p>\n\u003cp>The beests even think about self-preservation, to an extent. \u003ci>Animaris Sabulosa\u003c/i> adheres sand to its body as a form of camouflage. \u003ci>Animaris Rectus\u003c/i> hammers a stake into the sand when the wind picks up, to keep itself from blowing away.\u003c/p>\n\u003cfigure id=\"attachment_11634874\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200.jpg\" alt=\"Jansen's signature suit jacket during installation at the Exploratorium.\" width=\"1200\" height=\"799\" class=\"size-full wp-image-11634874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Strandbeest_DSC_8453_GL_1200-960x639.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jansen’s signature suit jacket during installation at the Exploratorium. \u003ccite>(Courtesy of the Exploratorium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is a retrospective show, but Jansen is far from done. His singular focus, his playful capacity to make, by hand, these strange and wonderful creatures and then claim it is they who are forcing themselves into existence, is inspiring, both for the ingenuity of Jansen’s creations and the legacy he wishes to establish. “In the next 20 years I hope to work on their future,” Jansen said. “Mark my words, by the time I leave this planet, I will leave behind a new species.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Strandbeest: The Dream Machines of Theo Jansen \u003c/b>is on view at the Exploratorium in San Francisco through September 5. For tickets and more information on a whole range of \u003ca href=\"http://www.exploratorium.edu/strandbeest/events\" target=\"_blank\" rel=\"noopener\">strandbeest-related events\u003c/a> visit \u003ca href=\"http://www.exploratorium.edu/strandbeest\" target=\"_blank\" rel=\"noopener\">exploratorium.edu\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Earlier this week, \u003ca href=\"http://nmai.si.edu/explore/multimedia/webcasts/\" target=\"_blank\" rel=\"noopener\">Hoopa Tribal Council Members Leilani Paul and Bradley Matthews led a prayer\u003c/a> at the \u003ca href=\"http://nmai.si.edu/\" target=\"_blank\" rel=\"noopener\">National Museum of the American Indian\u003c/a> in Washington D.C.\u003c/p>\n\u003cp>They joined other Indian leaders to protest the sale of ceremonial objects scheduled for Monday at the auction house \u003ca href=\"http://www.auctioneve.com/index.jsp?setLng=fr\" target=\"_blank\" rel=\"noopener\">EVE (Estimations Vente aux Enchère)\u003c/a> in Paris.\u003c/p>\n\u003cfigure id=\"attachment_11623353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11623353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-800x450.jpg\" alt=\"Hoopa Tribal Council Members Leilani Paul and Bradley Matthews at the Museum of the American Indian on Tuesday\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hoopa Tribal Council Members Leilani Paul and Bradley Matthews at the Museum of the American Indian on Tuesday \u003ccite>(Photo: Museum of the American Indian )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The auction features a \u003ca href=\"http://www.auctioneve.com/html/fiche.jsp?id=6016980&np=1&lng=fr&npp=10000&ordre=&aff=&sold=&r=\" target=\"_blank\" rel=\"noopener\">Hupa sacred deer \u003c/a>(Hupa is the spelling used to describe the sacred items and culture of the Hoopa Tribe), plus a Pueblo war shield, ancient Puebloan bone fragments and Hopi Kachinas.\u003c/p>\n\u003cp>Matthews and other tribal leaders called on the auction house to return the items, which have powerful religious significance.\u003c/p>\n\u003cp>“It’s almost like a search for a lost family member on an international level,” Matthews said in an interview Friday. “And we’re hopeful that somehow we’ll be able to bring it home.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"http://nmai.si.edu/explore/collections/repatriation/\" target=\"_blank\" rel=\"noopener\">Native American Graves Protection and Repatriation Act \u003c/a>requires American institutions receiving federal funds to return “cultural items” to Indian tribes and Native Hawaiian organizations. But the U.S. has no international treaties governing the return of such items.\u003c/p>\n\u003cp>Matthews says there’s no legal way for anyone other than a tribal member to own the deer.\u003c/p>\n\u003cp>“There are stories of regalia and other sacred objects leaving our lands in the late 1800’s by the wagonloads,” Matthews said, “and that was the taking of our culture of our community.”\u003c/p>\n\u003cp>Other tribal members at the Smithsonian made similar arguments. Conroy Chino a traditional leader from the Pueblo of Acoma in New Mexico says a member of his tribe recalls the theft from her grandfather of a 19th century Acoma Pueblo war shield pictured in the EVE auction catalog.\u003c/p>\n\u003cfigure id=\"attachment_11623223\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Hoopa-Deer-500x600.png\" alt=\"Hupa deer slated for sale May 30 in Paris\" width=\"500\" height=\"600\" class=\"size-medium wp-image-11623223\">\u003cfigcaption class=\"wp-caption-text\">Hupa deer slated for sale May 30 in Paris \u003ccite>(Photo: Catalogue of EVE Auction House in Paris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past the Paris auction house has defended the sales, despite unsuccessful challenges in the courts. Before a sale of Navajo masks last year, Auctioneer Alain Leroy told the \u003ca href=\"http://www.usnews.com/news/world/articles/2015/06/10/paris-auction-house-selling-sacred-masks-refuses-to-stop\" target=\"_blank\" rel=\"noopener\">Associated Press\u003c/a>,“It’s legal. It’s business. What’s the problem? The tribes are shocked, yes. But to each his own morality.”\u003c/p>\n\u003cp>And Leroy told the art news site \u003ca href=\"http://hyperallergic.com/301031/smithsonian-hosts-emergency-meeting-about-paris-auction-of-indigenous-remains-and-objects/\" target=\"_blank\" rel=\"noopener\">Hyperallergic\u003c/a> that the tribes can buy the items back if they choose\u003ca href=\"http://hyperallergic.com/301031/smithsonian-hosts-emergency-meeting-about-paris-auction-of-indigenous-remains-and-objects/\" target=\"_blank\" rel=\"noopener\">.\u003c/a>\u003c/p>\n\u003cp>“That is absolutely deplorable that he would make that comment,” Chino said. “There’s no way these items left the Pueblo legally.”\u003c/p>\n\u003cp>Hoopa Tribal member Matthews wouldn’t say whether the tribe would bid on the Hupa deer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He said he was heartened at the Smithsonian hearing, though, to learn that the U.S. State Department is looking into the possibility of negotiating treaties with other governments for the repatriation of sacred American Indian artifacts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this week, \u003ca href=\"http://nmai.si.edu/explore/multimedia/webcasts/\" target=\"_blank\" rel=\"noopener\">Hoopa Tribal Council Members Leilani Paul and Bradley Matthews led a prayer\u003c/a> at the \u003ca href=\"http://nmai.si.edu/\" target=\"_blank\" rel=\"noopener\">National Museum of the American Indian\u003c/a> in Washington D.C.\u003c/p>\n\u003cp>They joined other Indian leaders to protest the sale of ceremonial objects scheduled for Monday at the auction house \u003ca href=\"http://www.auctioneve.com/index.jsp?setLng=fr\" target=\"_blank\" rel=\"noopener\">EVE (Estimations Vente aux Enchère)\u003c/a> in Paris.\u003c/p>\n\u003cfigure id=\"attachment_11623353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11623353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-800x450.jpg\" alt=\"Hoopa Tribal Council Members Leilani Paul and Bradley Matthews at the Museum of the American Indian on Tuesday\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hoopa-Tribal-Council-Members-Leilani-Paul-and-Bradley-Matthews.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hoopa Tribal Council Members Leilani Paul and Bradley Matthews at the Museum of the American Indian on Tuesday \u003ccite>(Photo: Museum of the American Indian )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The auction features a \u003ca href=\"http://www.auctioneve.com/html/fiche.jsp?id=6016980&np=1&lng=fr&npp=10000&ordre=&aff=&sold=&r=\" target=\"_blank\" rel=\"noopener\">Hupa sacred deer \u003c/a>(Hupa is the spelling used to describe the sacred items and culture of the Hoopa Tribe), plus a Pueblo war shield, ancient Puebloan bone fragments and Hopi Kachinas.\u003c/p>\n\u003cp>Matthews and other tribal leaders called on the auction house to return the items, which have powerful religious significance.\u003c/p>\n\u003cp>“It’s almost like a search for a lost family member on an international level,” Matthews said in an interview Friday. “And we’re hopeful that somehow we’ll be able to bring it home.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"http://nmai.si.edu/explore/collections/repatriation/\" target=\"_blank\" rel=\"noopener\">Native American Graves Protection and Repatriation Act \u003c/a>requires American institutions receiving federal funds to return “cultural items” to Indian tribes and Native Hawaiian organizations. But the U.S. has no international treaties governing the return of such items.\u003c/p>\n\u003cp>Matthews says there’s no legal way for anyone other than a tribal member to own the deer.\u003c/p>\n\u003cp>“There are stories of regalia and other sacred objects leaving our lands in the late 1800’s by the wagonloads,” Matthews said, “and that was the taking of our culture of our community.”\u003c/p>\n\u003cp>Other tribal members at the Smithsonian made similar arguments. Conroy Chino a traditional leader from the Pueblo of Acoma in New Mexico says a member of his tribe recalls the theft from her grandfather of a 19th century Acoma Pueblo war shield pictured in the EVE auction catalog.\u003c/p>\n\u003cfigure id=\"attachment_11623223\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Hoopa-Deer-500x600.png\" alt=\"Hupa deer slated for sale May 30 in Paris\" width=\"500\" height=\"600\" class=\"size-medium wp-image-11623223\">\u003cfigcaption class=\"wp-caption-text\">Hupa deer slated for sale May 30 in Paris \u003ccite>(Photo: Catalogue of EVE Auction House in Paris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past the Paris auction house has defended the sales, despite unsuccessful challenges in the courts. Before a sale of Navajo masks last year, Auctioneer Alain Leroy told the \u003ca href=\"http://www.usnews.com/news/world/articles/2015/06/10/paris-auction-house-selling-sacred-masks-refuses-to-stop\" target=\"_blank\" rel=\"noopener\">Associated Press\u003c/a>,“It’s legal. It’s business. What’s the problem? The tribes are shocked, yes. But to each his own morality.”\u003c/p>\n\u003cp>And Leroy told the art news site \u003ca href=\"http://hyperallergic.com/301031/smithsonian-hosts-emergency-meeting-about-paris-auction-of-indigenous-remains-and-objects/\" target=\"_blank\" rel=\"noopener\">Hyperallergic\u003c/a> that the tribes can buy the items back if they choose\u003ca href=\"http://hyperallergic.com/301031/smithsonian-hosts-emergency-meeting-about-paris-auction-of-indigenous-remains-and-objects/\" target=\"_blank\" rel=\"noopener\">.\u003c/a>\u003c/p>\n\u003cp>“That is absolutely deplorable that he would make that comment,” Chino said. “There’s no way these items left the Pueblo legally.”\u003c/p>\n\u003cp>Hoopa Tribal member Matthews wouldn’t say whether the tribe would bid on the Hupa deer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He said he was heartened at the Smithsonian hearing, though, to learn that the U.S. State Department is looking into the possibility of negotiating treaties with other governments for the repatriation of sacred American Indian artifacts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mark Salling, who played bad-boy Noah “Puck” Puckerman on the Fox musical dramedy \u003cem>Glee\u003c/em>, was charged Friday with receiving and possessing child pornography.\u003c/p>\n\u003cp>The 33-year-old actor was charged with two counts, according to the U.S. Attorney’s Office.\u003c/p>\n\u003cp>Federal officials said he has agreed to surrender to authorities next Friday, at which time he’s also expected to be arraigned in federal court.\u003c/p>\n\u003cp>His publicist did not immediately respond to phone and email messages.\u003c/p>\n\u003cp>Salling was arrested at his home in Shadow Hills last December after Los Angeles police officers and federal agents seized a laptop, hard drive and flash drive they say contained images and videos depicting child pornography.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was charged with one count of using the Internet to obtain a pornographic still image and video of young girls and a second count of possessing two other child porn videos that also featured young girls.\u003c/p>\n\u003cp>If convicted, he could face as much as 20 years in prison on each of the charges.\u003c/p>\n\u003cp>“Those who download and possess child pornography create a market that causes more children to be harmed,” U.S. Attorney Eileen M. Decker said in a statement announcing the indictments. “Young victims are harmed every time an image is generated, every time it is distributed and every time it is viewed.”\u003c/p>\n\u003cp>Although best known for his long-running role on \u003cem>Glee\u003c/em>, which aired from 2009 to 2015, Salling is also a musician. He released his debut album, \u003cem>Pipe Dreams\u003c/em>, in 2010.\u003c/p>\n\u003cp>He shared a Screen Actors Guild award with the \u003cem>Glee\u003c/em> cast in 2010 when the show was honored for outstanding TV comedy ensemble.\u003c/p>\n\u003cp>_____\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mark Salling, who played bad-boy Noah “Puck” Puckerman on the Fox musical dramedy \u003cem>Glee\u003c/em>, was charged Friday with receiving and possessing child pornography.\u003c/p>\n\u003cp>The 33-year-old actor was charged with two counts, according to the U.S. Attorney’s Office.\u003c/p>\n\u003cp>Federal officials said he has agreed to surrender to authorities next Friday, at which time he’s also expected to be arraigned in federal court.\u003c/p>\n\u003cp>His publicist did not immediately respond to phone and email messages.\u003c/p>\n\u003cp>Salling was arrested at his home in Shadow Hills last December after Los Angeles police officers and federal agents seized a laptop, hard drive and flash drive they say contained images and videos depicting child pornography.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was charged with one count of using the Internet to obtain a pornographic still image and video of young girls and a second count of possessing two other child porn videos that also featured young girls.\u003c/p>\n\u003cp>If convicted, he could face as much as 20 years in prison on each of the charges.\u003c/p>\n\u003cp>“Those who download and possess child pornography create a market that causes more children to be harmed,” U.S. Attorney Eileen M. Decker said in a statement announcing the indictments. “Young victims are harmed every time an image is generated, every time it is distributed and every time it is viewed.”\u003c/p>\n\u003cp>Although best known for his long-running role on \u003cem>Glee\u003c/em>, which aired from 2009 to 2015, Salling is also a musician. He released his debut album, \u003cem>Pipe Dreams\u003c/em>, in 2010.\u003c/p>\n\u003cp>He shared a Screen Actors Guild award with the \u003cem>Glee\u003c/em> cast in 2010 when the show was honored for outstanding TV comedy ensemble.\u003c/p>\n\u003cp>_____\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dozens of arts and homelessness advocacy organizations in San Francisco are joining forces to file a ballot measure to restore funding from the city’s \u003ca href=\"http://sfcontroller.org/sites/default/files/FileCenter/Documents/242-06_Hotel_Room_Tax_October_2013.pdf\" target=\"_blank\" rel=\"noopener\">Hotel Room Tax\u003c/a> (a tax of 14 percent levied on hotel stays, more simply known as the Hotel Tax.) The “San Francisco Arts and Families Funding Ordinance” aims to benefit both cultural activities and families living on the streets — without raising taxes for voters.\u003c/p>\n\u003cp>Supporters of the measure, which was filed at City Hall on Friday, are calling the move an “unprecedented unified coalition” between the city’s cultural and homeless services communities.\u003c/p>\n\u003cp>More than 30 organizations, large and small, ranging from the \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> and the \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a> to \u003ca href=\"https://www.rootdivision.org/\" target=\"_blank\" rel=\"noopener\">Root Division\u003c/a> and the \u003ca href=\"https://hamiltonfamilycenter.org/\" target=\"_blank\" rel=\"noopener\">Hamilton Family Center\u003c/a> have signed on to push the measure through. Although the city’s arts and homeless communities intersect frequently in the present tough economic climate — with increasing numbers of artists and arts organizations being displaced from their homes and workplaces, artists creating art about living on the streets, and homeless services organizations offering arts activities to people in shelters — the collaboration is certainly unusual.\u003c/p>\n\u003cp>“As far as we’re aware, never before has this type of coalition between the arts and homeless communities come together,” says Shwetika Baijal, a strategist with \u003ca href=\"http://www.50p1.com/\" target=\"_blank\" rel=\"noopener\">50+1 Strategies\u003c/a>, a San Francisco-based political consulting firm that’s working with the coalition on building support for the measure. “This pushes us to think of a broader vision for San Francisco.”\u003c/p>\n\u003cp>\u003cstrong>A long legacy\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>San Francisco’s Hotel Tax was originally created in 1961 to support the city’s arts industries, and the construction and operation of convention facilities. Starting in the 1970s, funds from the Hotel Tax were allocated to fund low-income housing. In early 2000s, the city amended the allocations for the arts as part of the annual budget process, reducing funding gradually, and ultimately repealing specific allocations altogether. Money that went towards low-income housing from the fund was eliminated. (The city offers funding for people in need of food and shelter through other channels, such as the \u003ca href=\"http://www.sfmayor.org/index.aspx?page=1030\" target=\"_blank\" rel=\"noopener\">Mayor’s Fund for the Homeless\u003c/a>.)\u003c/p>\n\u003cp>Meanwhile, San Francisco hotel revenues have increased by 135 percent over the past decade. These days, most of the Hotel Tax money ends up in the city’s General Fund. The fund is sizable and has grown enormously over the past decade: at the end of 2014-2015 fiscal year, the total Hotel Tax revenue was close to $400 million, up from just over $150 million ten years previously.\u003c/p>\n\u003cp>“The Hotel Tax is a massive source of revenue in San Francisco, yet the arts and homeless services in San Francisco have been severely underfunded,” says Nicole Derse, principal at 50+1. “It makes sense that we should direct funding back towards the Hotel Tax’s original intent.”\u003c/p>\n\u003cp>\u003cstrong>How the money will be used\u003c/strong>\u003c/p>\n\u003cp>If the measure passes in November, it will use funds from the Hotel Tax kitty in an effort to end homelessness for families living in San Francisco. A 2015 report by the Coalition on Homelessness estimates that there are nearly 2,000 homeless families in the city, including more than 3,200 minors. Funds will specifically be used for rapid re-housing, prevention and diversion, capital and operating costs for the development, rehabilitation and acquisition of new housing for homeless families, and the administration of these programs.\u003c/p>\n\u003cp>“I couldn’t imagine a San Francisco that doesn’t support its homeless families and its arts and culture,” says Martha Ryan, executive director of the \u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Homeless Prenatal Program\u003c/a> (HPP), a local support center for impoverished and homeless families, and a member of the coalition. “Seeing the women who come to the Homeless Prenatal Program for vital services, I think there is nothing more important than making sure family homelessness services are funded. The beautiful arts in our communities and our city’s vibrant cultural institutions makes us who we are, and we have to financially support them to keep San Francisco’s spirit intact.”\u003c/p>\n\u003cp>The measure also calls for a portion of the Hotel Tax fund to be earmarked for the cultural industries, including general operational support for San Francisco arts and cultural organizations, arts service organizations, capital investments and regranting programs, arts tourism initiatives and neighborhood arts collaborative programs with the San Francisco Arts Commission.\u003c/p>\n\u003cp>“The Hotel Tax was originally created to support arts industries, but has been experiencing gradual reductions since the early 2000s,” says Jon Moscone, chief engagement officer at \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> (YBCA), a visual and performing cultural venue, producer and presenter in downtown San Francisco. YBCA is a member of the coalition. “Speaking as a native San Franciscan and an artist, this measure not only addresses the critical issues facing arts funding, but also steps up and addresses funding needs for family homelessness.”\u003c/p>\n\u003cp>The measure is intended to have a wide-reaching impact on the city’s arts and culture offerings. However, it is not comprehensive in terms of its scope: “Our measure funds primarily the Grants for the Arts (GFTA), Arts Commission, War Memorial, convention facilities, Cultural Equity Endowment Fund and creates a new Neighborhood Arts Fund,” Baijal says.\u003c/p>\n\u003cp>\u003cstrong>Stronger together\u003c/strong>\u003c/p>\n\u003cp>Derse says a number of San Francisco’s arts organizations started working together to strengthen the local cultural ecosystem over a year ago, by advocating for more cultural equity in the last budget cycle. Derse says that homelessness service providers were having similar discussions at that time, specifically around family homelessness. “Both groups were looking to the Hotel Tax,” Derse says. “We realized there was lots of common ground, so in the last three months we’ve been combining efforts.”\u003c/p>\n\u003cp>Instead of filing separate ballot measures — “we thought it would be confusing to voters to see multiple hotel tax measures on the ballot,” Derse says — the two communities decided to move forwards with a single proposal. “We realized we’re stronger together,” Derse says.\u003c/p>\n\u003cp>In order to get the measure on the November ballot, the coalition members have about a month starting in early June to collect 9,485 signatures on their petition, once the Department of Elections issues the coalition with a title and summary. (If the measure were brand new charter amendment rather than an amendment to an existing ordinance, the requirement would be 43,280 signatures.) If the requisite number of signatures is collected and the measure gets through, it will need approval from at least two-thirds of San Francisco’s voters to pass.\u003c/p>\n\u003cp>Derse says the arts and homeless organizations are now working to raise public awareness about the measure in order to get the necessary signatures on the petition, and then inspiring additional arts and homeless advocacy groups and leaders to join the cause. “We are organizing groups and supporters to start collecting petitions,” Baijal says. “It’s a great opportunity for supporters to get involved from the get-go.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A spokesperson from City Hall couldn’t be reached for comment on Friday. We will update this story as it unfolds.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dozens of arts and homelessness advocacy organizations in San Francisco are joining forces to file a ballot measure to restore funding from the city’s \u003ca href=\"http://sfcontroller.org/sites/default/files/FileCenter/Documents/242-06_Hotel_Room_Tax_October_2013.pdf\" target=\"_blank\" rel=\"noopener\">Hotel Room Tax\u003c/a> (a tax of 14 percent levied on hotel stays, more simply known as the Hotel Tax.) The “San Francisco Arts and Families Funding Ordinance” aims to benefit both cultural activities and families living on the streets — without raising taxes for voters.\u003c/p>\n\u003cp>Supporters of the measure, which was filed at City Hall on Friday, are calling the move an “unprecedented unified coalition” between the city’s cultural and homeless services communities.\u003c/p>\n\u003cp>More than 30 organizations, large and small, ranging from the \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> and the \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a> to \u003ca href=\"https://www.rootdivision.org/\" target=\"_blank\" rel=\"noopener\">Root Division\u003c/a> and the \u003ca href=\"https://hamiltonfamilycenter.org/\" target=\"_blank\" rel=\"noopener\">Hamilton Family Center\u003c/a> have signed on to push the measure through. Although the city’s arts and homeless communities intersect frequently in the present tough economic climate — with increasing numbers of artists and arts organizations being displaced from their homes and workplaces, artists creating art about living on the streets, and homeless services organizations offering arts activities to people in shelters — the collaboration is certainly unusual.\u003c/p>\n\u003cp>“As far as we’re aware, never before has this type of coalition between the arts and homeless communities come together,” says Shwetika Baijal, a strategist with \u003ca href=\"http://www.50p1.com/\" target=\"_blank\" rel=\"noopener\">50+1 Strategies\u003c/a>, a San Francisco-based political consulting firm that’s working with the coalition on building support for the measure. “This pushes us to think of a broader vision for San Francisco.”\u003c/p>\n\u003cp>\u003cstrong>A long legacy\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco’s Hotel Tax was originally created in 1961 to support the city’s arts industries, and the construction and operation of convention facilities. Starting in the 1970s, funds from the Hotel Tax were allocated to fund low-income housing. In early 2000s, the city amended the allocations for the arts as part of the annual budget process, reducing funding gradually, and ultimately repealing specific allocations altogether. Money that went towards low-income housing from the fund was eliminated. (The city offers funding for people in need of food and shelter through other channels, such as the \u003ca href=\"http://www.sfmayor.org/index.aspx?page=1030\" target=\"_blank\" rel=\"noopener\">Mayor’s Fund for the Homeless\u003c/a>.)\u003c/p>\n\u003cp>Meanwhile, San Francisco hotel revenues have increased by 135 percent over the past decade. These days, most of the Hotel Tax money ends up in the city’s General Fund. The fund is sizable and has grown enormously over the past decade: at the end of 2014-2015 fiscal year, the total Hotel Tax revenue was close to $400 million, up from just over $150 million ten years previously.\u003c/p>\n\u003cp>“The Hotel Tax is a massive source of revenue in San Francisco, yet the arts and homeless services in San Francisco have been severely underfunded,” says Nicole Derse, principal at 50+1. “It makes sense that we should direct funding back towards the Hotel Tax’s original intent.”\u003c/p>\n\u003cp>\u003cstrong>How the money will be used\u003c/strong>\u003c/p>\n\u003cp>If the measure passes in November, it will use funds from the Hotel Tax kitty in an effort to end homelessness for families living in San Francisco. A 2015 report by the Coalition on Homelessness estimates that there are nearly 2,000 homeless families in the city, including more than 3,200 minors. Funds will specifically be used for rapid re-housing, prevention and diversion, capital and operating costs for the development, rehabilitation and acquisition of new housing for homeless families, and the administration of these programs.\u003c/p>\n\u003cp>“I couldn’t imagine a San Francisco that doesn’t support its homeless families and its arts and culture,” says Martha Ryan, executive director of the \u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Homeless Prenatal Program\u003c/a> (HPP), a local support center for impoverished and homeless families, and a member of the coalition. “Seeing the women who come to the Homeless Prenatal Program for vital services, I think there is nothing more important than making sure family homelessness services are funded. The beautiful arts in our communities and our city’s vibrant cultural institutions makes us who we are, and we have to financially support them to keep San Francisco’s spirit intact.”\u003c/p>\n\u003cp>The measure also calls for a portion of the Hotel Tax fund to be earmarked for the cultural industries, including general operational support for San Francisco arts and cultural organizations, arts service organizations, capital investments and regranting programs, arts tourism initiatives and neighborhood arts collaborative programs with the San Francisco Arts Commission.\u003c/p>\n\u003cp>“The Hotel Tax was originally created to support arts industries, but has been experiencing gradual reductions since the early 2000s,” says Jon Moscone, chief engagement officer at \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> (YBCA), a visual and performing cultural venue, producer and presenter in downtown San Francisco. YBCA is a member of the coalition. “Speaking as a native San Franciscan and an artist, this measure not only addresses the critical issues facing arts funding, but also steps up and addresses funding needs for family homelessness.”\u003c/p>\n\u003cp>The measure is intended to have a wide-reaching impact on the city’s arts and culture offerings. However, it is not comprehensive in terms of its scope: “Our measure funds primarily the Grants for the Arts (GFTA), Arts Commission, War Memorial, convention facilities, Cultural Equity Endowment Fund and creates a new Neighborhood Arts Fund,” Baijal says.\u003c/p>\n\u003cp>\u003cstrong>Stronger together\u003c/strong>\u003c/p>\n\u003cp>Derse says a number of San Francisco’s arts organizations started working together to strengthen the local cultural ecosystem over a year ago, by advocating for more cultural equity in the last budget cycle. Derse says that homelessness service providers were having similar discussions at that time, specifically around family homelessness. “Both groups were looking to the Hotel Tax,” Derse says. “We realized there was lots of common ground, so in the last three months we’ve been combining efforts.”\u003c/p>\n\u003cp>Instead of filing separate ballot measures — “we thought it would be confusing to voters to see multiple hotel tax measures on the ballot,” Derse says — the two communities decided to move forwards with a single proposal. “We realized we’re stronger together,” Derse says.\u003c/p>\n\u003cp>In order to get the measure on the November ballot, the coalition members have about a month starting in early June to collect 9,485 signatures on their petition, once the Department of Elections issues the coalition with a title and summary. (If the measure were brand new charter amendment rather than an amendment to an existing ordinance, the requirement would be 43,280 signatures.) If the requisite number of signatures is collected and the measure gets through, it will need approval from at least two-thirds of San Francisco’s voters to pass.\u003c/p>\n\u003cp>Derse says the arts and homeless organizations are now working to raise public awareness about the measure in order to get the necessary signatures on the petition, and then inspiring additional arts and homeless advocacy groups and leaders to join the cause. “We are organizing groups and supporters to start collecting petitions,” Baijal says. “It’s a great opportunity for supporters to get involved from the get-go.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A spokesperson from City Hall couldn’t be reached for comment on Friday. We will update this story as it unfolds.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why So Few Ballet Dancers Become Choreographers",
"headTitle": "Why So Few Ballet Dancers Become Choreographers | KQED",
"content": "\u003cp>Ballet is a cruel business. After 10-15 years of monastic training, those few who win professional contracts face slim prospects of advancing from the \u003cem>corps de ballet\u003c/em> to the rank of soloist. Even discounting the ever-present risk of a career-ending injury, dancers’ tenures tend to be brutally short. No wonder that so few of them feel they have the bandwidth to branch out into choreography –- at least, not until they have retired from the stage. And even then, companies rarely take a punt on the inexperienced.\u003c/p>\n\u003cp>Yet the ballet world direly needs fresh choreographic voices to boost demand for live performance. “Worldwide, the search for talented choreographers has become an important issue,” says Bolshoi Ballet spokeswoman Katya Novikova, admitting that the lauded Russian dance company has not built up as strong a pipeline of new choreographers as they would like.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week, the industry has its eyes on Wei Wang. Trained at the Beijing Dance Academy and only in his third season at San Francisco Ballet, the 23-year-old \u003cem>corps de ballet\u003c/em> member has just won a coveted promotion to soloist.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11622585\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11622585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-800x532.jpg\" alt=\"San Francisco Ballet's Wei Wang and Yuan Yuan Tan in William Forsythe's 'Pas/Parts' (Photo: Erik Tomasson)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet’s Wei Wang and Yuan Yuan Tan in William Forsythe’s ‘Pas/Parts’ (Photo: Erik Tomasson)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">And earlier this week, Wang achieved a coup that lies well beyond the reach of most professional ballet dancers: he unveiled his first-ever choreographic work, created on advanced students of the San Francisco Ballet School, at the school’s \u003ca href=\"https://ybca.org/whats-on/an-invitation-to-dance-2016-student-showcase.\" target=\"_blank\" rel=\"noopener\">annual showcase\u003c/a> at the Yerba Buena Center for the Arts. Few other SF Ballet dancers have been been given the choreographic reins in the company’s long history. The very short list includes Myles Thatcher, \u003c/span>James Sofranko, Francisco Mungamba and Benjamin Freemantle.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In \u003cem>Focus\u003c/em>, Wang slices and engineers a recording of Beethoven’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Moonlight Sonata\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to incorporate street and industrial noises, as well as the sounds of rumbling thunder. Thanks to Jim French’s dramatic lighting design, the overall effect is gripping, like listening to the great composer’s music in a threatening storm. Later in the piece, the soundscape mimics being under the sea in a submarine, listening for the pinging of black boxes from a downed airliner. To this mercurial score, the very fine and committed quintet of Yumi Kanazawa, Shené Lazarus, Victor Prigent, Davide Occhipinti, and Nathaniel Remez slither, melt and twist their bodies into wondrous contours. The evanescent pairings, fluid yet sharply edged, are blessedly free of the romantic and sexual overtones that blight so many amateurish contemporary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">pas de deux\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003cspan style=\"font-weight: 400\">Wang presents each pair as a single organism.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11622715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11622715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-800x507.jpg\" alt=\"A moment from Wei Wang’s first choreographic work for SF Ballet, ‘Focus’\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-1920x1216.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-960x608.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A moment from Wei Wang’s first choreographic work for SF Ballet, ‘Focus’ \u003ccite>(Photo: Chris Hardy/San Francisco Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite his lack of experience, the choreographer demonstrates a remarkable facility for movement invention, as well as a mastery of stillness and austerity. Will we be seeing more from this young man, who clearly has a lot to say?\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>How to grow a choreographer\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It takes time for a choreographer to mature, and few professional ballet companies afford new dancemakers the luxury to fail in the current era of tight funding. It’s not a skill that can be taught, but rather a rare, innate talent that is cultivated through practice. You need far more young choreographers in the pipeline than we have now, because only a tiny percentage will grow up to be any good.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The world’s largest ballet companies do not systematically nurture new choreographers from within their ranks. Given the demands of the rehearsal process and the complexity of the artistic collaborations involved, the cost of mounting a new ballet can run from $100,000 into the millions for an evening-length production. Established choreographers, therefore, are an easier sell to backers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And yet there’s a compelling argument for ballet institutions to nurture inside talent from the ranks, for dancers often know their company peers better than the seasoned choreographers who jet from commission to commission. And fresh, young voices can do a lot to move the art form forwards in new and unpredictable ways. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11621465\" class=\"wp-caption alignnone\" style=\"max-width: 570px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11621465\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/2015-02-26-_ET39405-thumb.jpg\" alt=\"Norika Matsuyama and Steven Morse in Myles Thatcher's 'Manifesto' at San Francisco Ballet (Photo: Erik Tomasson)\" width=\"570\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2015-02-26-_ET39405-thumb.jpg 570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2015-02-26-_ET39405-thumb-400x267.jpg 400w\" sizes=\"(max-width: 570px) 100vw, 570px\">\u003cfigcaption class=\"wp-caption-text\">Norika Matsuyama and Steven Morse in Myles Thatcher’s ‘Manifesto’ at San Francisco Ballet (Photo: Erik Tomasson)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though few large companies have placed bets on inside talent, their scattered efforts have been quite well received by audiences. \u003c/span>\u003cspan style=\"font-weight: 400\">Christopher Wheeldon and Liam Scarlett retired from the stage as soloists with City Ballet and the Royal Ballet, respectively, to step into full-time choreographer jobs with those companies. \u003c/span> \u003cspan style=\"font-weight: 400\">New York City Ballet’s Justin Peck and SF Ballet’s Thatcher are rare examples of young \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">corps de ballet\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> dancers whose home companies have given them several shots at choreographing works. The National Ballet of Canada’s Robert Binet graduated from the company’s school directly into a choreographic post, nurtured by stints with the Royal Ballet, Hamburg’s National Youth Ballet and New York City Ballet. And fresh out of the Royal Ballet School last September, Charlotte Edmonds (at only 19 years of age) landed a choreographic apprenticeship carved especially for her by the Royal Ballet. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Whose job is it?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11621340\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11621340\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Hamburg-800x533.jpg\" alt=\"Patricia Friza in Aleix Martínez' 'Kleines Requiem,' from Hamburg Ballet's Young Choreographers 2016 program (Photo: Kiran West)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Friza in Aleix Martínez’ ‘Kleines Requiem,’ from Hamburg Ballet’s Young Choreographers 2016 program (Photo: Kiran West)\u003c/figcaption>\u003c/figure>\n\u003cp>With the exception of New York City Ballet’s ‘Choreographic Institute’ – which, starting in 2000, has given a handful of emerging choreographers two-week residencies – these opportunities remain, for the most part, sporadic. The Bolshoi Ballet has just selected nine participants, mostly Bolshoi dancers, for the first phase of a new choreographers program, spearheaded by departing artistic director Sergei Filin. Oregon Ballet Theatre launched \u003ca href=\"http://www.obt.org/index.php/choreography-xx/\">a competition\u003c/a> this year, exclusively aimed at female choreographers – \u003ca href=\"https://www.theguardian.com/stage/2016/jan/18/akram-khan-more-female-choreographers-for-the-sake-of-it-luke-jennings-reply\">a cohort that is shockingly under-represented\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11621468\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11621468 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-800x512.jpg\" alt=\"A scene from 'Hydragyrum' by Patricia Okenwa for Rambert Dance Company (Photo: Tristram Kenton) \" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-1920x1229.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Hydragyrum’ by Patricia Okenwa for Rambert Dance Company (Photo: Tristram Kenton)\u003c/figcaption>\u003c/figure>\n\u003cp>Some nimble and forward-thinking companies have been tackling the pipeline problem assiduously. For example, London’s Rambert Dance Company is known for nurturing choreographers internally, and has supported the creation of the New Movement Collective – a group of dance artists (mostly current or former Rambert dancers) who make site-specific works. \u003cspan style=\"font-weight: 400\">Out of Hamburg Ballet’s 60 dancers, 18 of them participated in this year’s Young Choreographers program. \u003c/span>And Les Grands Ballets Canadiens de Montreal organizes \u003cem>Les Ateliers Chorégraphiques\u003c/em>, programs that are entirely conceived, designed, publicized, and performed by a handful of company dancers.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To fill the choreographer pipeline is not only costly, but it also requires an appetite for risk. Few private donors are willing to throw that kind of money at emerging choreographers with potentially low batting averages. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11620425\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11620425 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-800x532.jpg\" alt=\"Amanda Treiber and the NYU Steel ensemble in Steven Melendez’ and Zhong-Jing Fang’s Song Before Spring for New York Theatre Ballet at New York Live Arts (Photo: Rachel Neville)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Treiber and the NYU Steel ensemble in Steven Melendez’ and Zhong-Jing Fang’s ‘Song Before Spring’ for New York Theatre Ballet at New York Live Arts (Photo: Rachel Neville)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But without nurturing dancemaking talent from within, companies risk a greater loss: an important opportunity for innovation and creativity. “\u003c/span>\u003cspan style=\"line-height: 1.5\">It seems like the priority today is to sell tickets using popular, well-known choreographers,” says Diana Byer, founder and artistic director of New York Theatre Ballet, whose company has been investing in new choreographers almost since its founding more than 30 years ago — and often to critical acclaim. “Companies need to find new ways to bring in audiences to see choreographers who are not prominent dancers, but who might have a vivid imagination in creating new work that doesn’t just mimic the great dancemakers who came before them.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\u003cblockquote>\u003cp> \u003c/p>\u003c/blockquote>\n\n",
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"excerpt": "San Francisco Ballet dancer Wei Wang got a rare chance to create a dance piece for students at his own company this week. But when it comes to choreography, companies are often reluctant to nurture inside talent ",
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"description": "San Francisco Ballet dancer Wei Wang got a rare chance to create a dance piece for students at his own company this week. But when it comes to choreography, companies are often reluctant to nurture inside talent ",
"title": "Why So Few Ballet Dancers Become Choreographers | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ballet is a cruel business. After 10-15 years of monastic training, those few who win professional contracts face slim prospects of advancing from the \u003cem>corps de ballet\u003c/em> to the rank of soloist. Even discounting the ever-present risk of a career-ending injury, dancers’ tenures tend to be brutally short. No wonder that so few of them feel they have the bandwidth to branch out into choreography –- at least, not until they have retired from the stage. And even then, companies rarely take a punt on the inexperienced.\u003c/p>\n\u003cp>Yet the ballet world direly needs fresh choreographic voices to boost demand for live performance. “Worldwide, the search for talented choreographers has become an important issue,” says Bolshoi Ballet spokeswoman Katya Novikova, admitting that the lauded Russian dance company has not built up as strong a pipeline of new choreographers as they would like.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week, the industry has its eyes on Wei Wang. Trained at the Beijing Dance Academy and only in his third season at San Francisco Ballet, the 23-year-old \u003cem>corps de ballet\u003c/em> member has just won a coveted promotion to soloist.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11622585\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11622585\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-800x532.jpg\" alt=\"San Francisco Ballet's Wei Wang and Yuan Yuan Tan in William Forsythe's 'Pas/Parts' (Photo: Erik Tomasson)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/PPA16REP_ET13630-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet’s Wei Wang and Yuan Yuan Tan in William Forsythe’s ‘Pas/Parts’ (Photo: Erik Tomasson)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">And earlier this week, Wang achieved a coup that lies well beyond the reach of most professional ballet dancers: he unveiled his first-ever choreographic work, created on advanced students of the San Francisco Ballet School, at the school’s \u003ca href=\"https://ybca.org/whats-on/an-invitation-to-dance-2016-student-showcase.\" target=\"_blank\" rel=\"noopener\">annual showcase\u003c/a> at the Yerba Buena Center for the Arts. Few other SF Ballet dancers have been been given the choreographic reins in the company’s long history. The very short list includes Myles Thatcher, \u003c/span>James Sofranko, Francisco Mungamba and Benjamin Freemantle.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In \u003cem>Focus\u003c/em>, Wang slices and engineers a recording of Beethoven’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Moonlight Sonata\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to incorporate street and industrial noises, as well as the sounds of rumbling thunder. Thanks to Jim French’s dramatic lighting design, the overall effect is gripping, like listening to the great composer’s music in a threatening storm. Later in the piece, the soundscape mimics being under the sea in a submarine, listening for the pinging of black boxes from a downed airliner. To this mercurial score, the very fine and committed quintet of Yumi Kanazawa, Shené Lazarus, Victor Prigent, Davide Occhipinti, and Nathaniel Remez slither, melt and twist their bodies into wondrous contours. The evanescent pairings, fluid yet sharply edged, are blessedly free of the romantic and sexual overtones that blight so many amateurish contemporary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">pas de deux\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003cspan style=\"font-weight: 400\">Wang presents each pair as a single organism.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11622715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11622715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-800x507.jpg\" alt=\"A moment from Wei Wang’s first choreographic work for SF Ballet, ‘Focus’\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-1920x1216.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SCH16SSC_H1_1871-e1464373955766-960x608.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A moment from Wei Wang’s first choreographic work for SF Ballet, ‘Focus’ \u003ccite>(Photo: Chris Hardy/San Francisco Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite his lack of experience, the choreographer demonstrates a remarkable facility for movement invention, as well as a mastery of stillness and austerity. Will we be seeing more from this young man, who clearly has a lot to say?\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>How to grow a choreographer\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It takes time for a choreographer to mature, and few professional ballet companies afford new dancemakers the luxury to fail in the current era of tight funding. It’s not a skill that can be taught, but rather a rare, innate talent that is cultivated through practice. You need far more young choreographers in the pipeline than we have now, because only a tiny percentage will grow up to be any good.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The world’s largest ballet companies do not systematically nurture new choreographers from within their ranks. Given the demands of the rehearsal process and the complexity of the artistic collaborations involved, the cost of mounting a new ballet can run from $100,000 into the millions for an evening-length production. Established choreographers, therefore, are an easier sell to backers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And yet there’s a compelling argument for ballet institutions to nurture inside talent from the ranks, for dancers often know their company peers better than the seasoned choreographers who jet from commission to commission. And fresh, young voices can do a lot to move the art form forwards in new and unpredictable ways. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11621465\" class=\"wp-caption alignnone\" style=\"max-width: 570px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11621465\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/2015-02-26-_ET39405-thumb.jpg\" alt=\"Norika Matsuyama and Steven Morse in Myles Thatcher's 'Manifesto' at San Francisco Ballet (Photo: Erik Tomasson)\" width=\"570\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2015-02-26-_ET39405-thumb.jpg 570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/2015-02-26-_ET39405-thumb-400x267.jpg 400w\" sizes=\"(max-width: 570px) 100vw, 570px\">\u003cfigcaption class=\"wp-caption-text\">Norika Matsuyama and Steven Morse in Myles Thatcher’s ‘Manifesto’ at San Francisco Ballet (Photo: Erik Tomasson)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though few large companies have placed bets on inside talent, their scattered efforts have been quite well received by audiences. \u003c/span>\u003cspan style=\"font-weight: 400\">Christopher Wheeldon and Liam Scarlett retired from the stage as soloists with City Ballet and the Royal Ballet, respectively, to step into full-time choreographer jobs with those companies. \u003c/span> \u003cspan style=\"font-weight: 400\">New York City Ballet’s Justin Peck and SF Ballet’s Thatcher are rare examples of young \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">corps de ballet\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> dancers whose home companies have given them several shots at choreographing works. The National Ballet of Canada’s Robert Binet graduated from the company’s school directly into a choreographic post, nurtured by stints with the Royal Ballet, Hamburg’s National Youth Ballet and New York City Ballet. And fresh out of the Royal Ballet School last September, Charlotte Edmonds (at only 19 years of age) landed a choreographic apprenticeship carved especially for her by the Royal Ballet. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Whose job is it?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11621340\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11621340\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Hamburg-800x533.jpg\" alt=\"Patricia Friza in Aleix Martínez' 'Kleines Requiem,' from Hamburg Ballet's Young Choreographers 2016 program (Photo: Kiran West)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Hamburg-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Friza in Aleix Martínez’ ‘Kleines Requiem,’ from Hamburg Ballet’s Young Choreographers 2016 program (Photo: Kiran West)\u003c/figcaption>\u003c/figure>\n\u003cp>With the exception of New York City Ballet’s ‘Choreographic Institute’ – which, starting in 2000, has given a handful of emerging choreographers two-week residencies – these opportunities remain, for the most part, sporadic. The Bolshoi Ballet has just selected nine participants, mostly Bolshoi dancers, for the first phase of a new choreographers program, spearheaded by departing artistic director Sergei Filin. Oregon Ballet Theatre launched \u003ca href=\"http://www.obt.org/index.php/choreography-xx/\">a competition\u003c/a> this year, exclusively aimed at female choreographers – \u003ca href=\"https://www.theguardian.com/stage/2016/jan/18/akram-khan-more-female-choreographers-for-the-sake-of-it-luke-jennings-reply\">a cohort that is shockingly under-represented\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11621468\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11621468 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-800x512.jpg\" alt=\"A scene from 'Hydragyrum' by Patricia Okenwa for Rambert Dance Company (Photo: Tristram Kenton) \" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-1920x1229.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/7.-Hydrargyrum-c-Tristram-Kenton_smaller-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Hydragyrum’ by Patricia Okenwa for Rambert Dance Company (Photo: Tristram Kenton)\u003c/figcaption>\u003c/figure>\n\u003cp>Some nimble and forward-thinking companies have been tackling the pipeline problem assiduously. For example, London’s Rambert Dance Company is known for nurturing choreographers internally, and has supported the creation of the New Movement Collective – a group of dance artists (mostly current or former Rambert dancers) who make site-specific works. \u003cspan style=\"font-weight: 400\">Out of Hamburg Ballet’s 60 dancers, 18 of them participated in this year’s Young Choreographers program. \u003c/span>And Les Grands Ballets Canadiens de Montreal organizes \u003cem>Les Ateliers Chorégraphiques\u003c/em>, programs that are entirely conceived, designed, publicized, and performed by a handful of company dancers.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To fill the choreographer pipeline is not only costly, but it also requires an appetite for risk. Few private donors are willing to throw that kind of money at emerging choreographers with potentially low batting averages. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11620425\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11620425 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-800x532.jpg\" alt=\"Amanda Treiber and the NYU Steel ensemble in Steven Melendez’ and Zhong-Jing Fang’s Song Before Spring for New York Theatre Ballet at New York Live Arts (Photo: Rachel Neville)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/NYTB.MIxedFeb16-9781-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Treiber and the NYU Steel ensemble in Steven Melendez’ and Zhong-Jing Fang’s ‘Song Before Spring’ for New York Theatre Ballet at New York Live Arts (Photo: Rachel Neville)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But without nurturing dancemaking talent from within, companies risk a greater loss: an important opportunity for innovation and creativity. “\u003c/span>\u003cspan style=\"line-height: 1.5\">It seems like the priority today is to sell tickets using popular, well-known choreographers,” says Diana Byer, founder and artistic director of New York Theatre Ballet, whose company has been investing in new choreographers almost since its founding more than 30 years ago — and often to critical acclaim. “Companies need to find new ways to bring in audiences to see choreographers who are not prominent dancers, but who might have a vivid imagination in creating new work that doesn’t just mimic the great dancemakers who came before them.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Fists were flying and then bullets inside a crowded New York City concert venue where four people were shot, one fatally, and now a rapper who police say was seen on surveillance footage firing a gun is facing attempted murder and weapons charges.\u003c/p>\n\u003cp>Roland Collins, who goes by the stage name Troy Ave, was arrested Thursday, a day after the deadly shooting at Irving Plaza, where hip-hop artist T.I. was set to perform. Police said a fistfight had broken out in a performers’ lounge at the venue.\u003c/p>\n\u003cp>The man who died, 33-year-old Ronald McPhatter, was a member of Collins’ entourage and had been there to provide security, according to his family. Collins, 30, suffered a gunshot wound to the leg, police said.\u003c/p>\n\u003cp>An 8-second video clip released by police shows the gunman bursting through the door of a VIP room in apparent pursuit of another man, who flees off-screen.\u003c/p>\n\u003cp>As concertgoers huddle under a counter and clutch each other, the gunman, who appears to be limping, stops and scans the room for a moment with his eyes. Then, he spots something, raises his gun and fires.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Witnesses described a chaotic scene.\u003c/p>\n\u003cp>“Everyone was hysterical, I was having a panic attack during the shooting, and the woman next to me was covering my mouth with her hand to try to get me to stop screaming,” said Liv Hoffman, 19.\u003c/p>\n\u003cp>There were nearly 1,000 people in the venue when the shooting began. One of the victims, Christopher Vinson, 34, was shot in the chest on the venue’s ground level after a bullet traveled through the floor, Chief of Detectives Robert Boyce said. Another bystander, Maggie Heckstall, 26, was shot in the leg, authorities said.\u003c/p>\n\u003cp>The exact circumstances of what prompted the fight were still under investigation.\u003c/p>\n\u003cp>In an interview with WCBS radio, Police Commissioner William Bratton blamed the shootings on “the crazy world of the so-called rap artists who are basically thugs that basically celebrate the violence that they live all their lives.”\u003c/p>\n\u003cp>That prompted an angry response from McPhatter’s relatives and a city lawmaker, who derided the comments as insensitive and divisive.\u003c/p>\n\u003cp>“When white people are doing this violence, I don’t hear the same language being used,” said City Councilman Jumaane Williams, a Brooklyn Democrat who said he had worked on anti-violence initiatives with McPhatter and his older brother, Shanduke McPhatter, a former gang member.\u003c/p>\n\u003cp>Mayor Bill de Blasio said afterward he believed Bratton was “talking out of frustration.”\u003c/p>\n\u003cp>Collins was in custody and couldn’t be reached for comment Thursday. It was unclear if he had an attorney. A message left at a phone number listed for him wasn’t immediately returned.\u003c/p>\n\u003cp>Shanduke McPhatter said his brother “got too much into” the glamour of the hip-hop scene, and it landed him Wednesday night in an environment where alcohol flowed freely and trouble broke out.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Kiley Armstrong, Tom McElroy, Mesfin Fekadu, Jennifer Peltz and Michael Balsamo contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fists were flying and then bullets inside a crowded New York City concert venue where four people were shot, one fatally, and now a rapper who police say was seen on surveillance footage firing a gun is facing attempted murder and weapons charges.\u003c/p>\n\u003cp>Roland Collins, who goes by the stage name Troy Ave, was arrested Thursday, a day after the deadly shooting at Irving Plaza, where hip-hop artist T.I. was set to perform. Police said a fistfight had broken out in a performers’ lounge at the venue.\u003c/p>\n\u003cp>The man who died, 33-year-old Ronald McPhatter, was a member of Collins’ entourage and had been there to provide security, according to his family. Collins, 30, suffered a gunshot wound to the leg, police said.\u003c/p>\n\u003cp>An 8-second video clip released by police shows the gunman bursting through the door of a VIP room in apparent pursuit of another man, who flees off-screen.\u003c/p>\n\u003cp>As concertgoers huddle under a counter and clutch each other, the gunman, who appears to be limping, stops and scans the room for a moment with his eyes. Then, he spots something, raises his gun and fires.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Witnesses described a chaotic scene.\u003c/p>\n\u003cp>“Everyone was hysterical, I was having a panic attack during the shooting, and the woman next to me was covering my mouth with her hand to try to get me to stop screaming,” said Liv Hoffman, 19.\u003c/p>\n\u003cp>There were nearly 1,000 people in the venue when the shooting began. One of the victims, Christopher Vinson, 34, was shot in the chest on the venue’s ground level after a bullet traveled through the floor, Chief of Detectives Robert Boyce said. Another bystander, Maggie Heckstall, 26, was shot in the leg, authorities said.\u003c/p>\n\u003cp>The exact circumstances of what prompted the fight were still under investigation.\u003c/p>\n\u003cp>In an interview with WCBS radio, Police Commissioner William Bratton blamed the shootings on “the crazy world of the so-called rap artists who are basically thugs that basically celebrate the violence that they live all their lives.”\u003c/p>\n\u003cp>That prompted an angry response from McPhatter’s relatives and a city lawmaker, who derided the comments as insensitive and divisive.\u003c/p>\n\u003cp>“When white people are doing this violence, I don’t hear the same language being used,” said City Councilman Jumaane Williams, a Brooklyn Democrat who said he had worked on anti-violence initiatives with McPhatter and his older brother, Shanduke McPhatter, a former gang member.\u003c/p>\n\u003cp>Mayor Bill de Blasio said afterward he believed Bratton was “talking out of frustration.”\u003c/p>\n\u003cp>Collins was in custody and couldn’t be reached for comment Thursday. It was unclear if he had an attorney. A message left at a phone number listed for him wasn’t immediately returned.\u003c/p>\n\u003cp>Shanduke McPhatter said his brother “got too much into” the glamour of the hip-hop scene, and it landed him Wednesday night in an environment where alcohol flowed freely and trouble broke out.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Kiley Armstrong, Tom McElroy, Mesfin Fekadu, Jennifer Peltz and Michael Balsamo contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Unified School District announced last week it hired Donn Harris, currently director of the Oakland School of the Arts (OSA), to be its new executive director of art programs. \u003c/p>\n\u003cp>Harris, who is on the \u003ca href=\"http://www.cac.ca.gov/news/prdetail.php?id=161\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a>, was the director of the Ruth Asawa School of the Arts (now Asawa SOTA) for seven years before he was asked to be the OSA director in 2013 by then Oakland Mayor Jerry Brown. \u003c/p>\n\u003cp>Starting July 1, he will be the district’s Executive Director for Creativity and The Arts, and he’ll be tasked with ensuring equity and access to arts programs, as well as leading the development of the district’s $300 million arts center project.\u003c/p>\n\u003cfigure id=\"attachment_11620432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-800x450.jpg\" alt=\"A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11620432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA \u003ccite>(Graphic: Courtesy of SFUSD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco has invested in arts education to a degree unseen elsewhere in the nation. Creativity is clearly a core value of our city, and we have work ahead to infuse that spirit into the daily life of our schools: examining contemporary art forms that reflect students’ cultures and interests, and studying our arts ecosystem to determine how best to give students equal access to the art forms that inspire them,” Harris said in a \u003ca href=\"http://www.sfusd.edu/en/news/current-news/2016-news-archive/05/sfusd-hires-new-executive-director-for-creativity-and-the-arts.html\" target=\"_blank\" rel=\"noopener\">SFUSD press release\u003c/a>.\u003c/p>\n\u003cp>Managing the creation of the Arts Center over the next few years — a timetable for its construction has yet to be determined — will be a huge undertaking for Harris. The project, which was approved back in 2014, and will take over almost an entire city block and house both the Asawa SOTA and the Nourse Theater, still needs to raise much of its construction budget, which the district will do through an upcoming ballot measure and private donors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Unified School District announced last week it hired Donn Harris, currently director of the Oakland School of the Arts (OSA), to be its new executive director of art programs. \u003c/p>\n\u003cp>Harris, who is on the \u003ca href=\"http://www.cac.ca.gov/news/prdetail.php?id=161\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a>, was the director of the Ruth Asawa School of the Arts (now Asawa SOTA) for seven years before he was asked to be the OSA director in 2013 by then Oakland Mayor Jerry Brown. \u003c/p>\n\u003cp>Starting July 1, he will be the district’s Executive Director for Creativity and The Arts, and he’ll be tasked with ensuring equity and access to arts programs, as well as leading the development of the district’s $300 million arts center project.\u003c/p>\n\u003cfigure id=\"attachment_11620432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-800x450.jpg\" alt=\"A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11620432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA \u003ccite>(Graphic: Courtesy of SFUSD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco has invested in arts education to a degree unseen elsewhere in the nation. Creativity is clearly a core value of our city, and we have work ahead to infuse that spirit into the daily life of our schools: examining contemporary art forms that reflect students’ cultures and interests, and studying our arts ecosystem to determine how best to give students equal access to the art forms that inspire them,” Harris said in a \u003ca href=\"http://www.sfusd.edu/en/news/current-news/2016-news-archive/05/sfusd-hires-new-executive-director-for-creativity-and-the-arts.html\" target=\"_blank\" rel=\"noopener\">SFUSD press release\u003c/a>.\u003c/p>\n\u003cp>Managing the creation of the Arts Center over the next few years — a timetable for its construction has yet to be determined — will be a huge undertaking for Harris. The project, which was approved back in 2014, and will take over almost an entire city block and house both the Asawa SOTA and the Nourse Theater, still needs to raise much of its construction budget, which the district will do through an upcoming ballot measure and private donors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/05/TDL20160527.mp3\u003c/p>\n\u003c/aside>\n\u003cfigure id=\"attachment_11619760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11619760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-800x533.jpg\" alt=\"Karita Matilla in Jenufa at the Metropolitan Opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karita Matilla in Jenufa at the Metropolitan Opera \u003ccite>(Photo: Beatriz Schiller/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 27-July 2:\u003c/strong> San Francisco’s brief summer opera season opens with what one critic called “theatrical dynamite,” Calixto Bieito’s staging of Bizet’s \u003cem>Carmen\u003c/em> as a tale of masculine oppression set in post-Franco Spain. Then Verdi takes us back to 16th century Spain in his\u003ci> Don Carlo\u003c/i>, set during the inquisition, in which a king and his son vie for the same woman. Then Janáček’s Jenůfa returns, after too many seasons of neglect. The great Karita Mattila plays the step-mother with Malin Byström in the title role. Details for \u003cem>Carmen\u003c/em> are\u003ca href=\"http://sfopera.com/discover-opera/1516-season/carmen/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>; for \u003cem>Don Carlo \u003c/em>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/don-carlo/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>; and for \u003cem>Jenůfa \u003c/em>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/jenufa/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And if you’re daunted by opera prices, register for the July 2 \u003cem>San Francisco Opera at AT&T Park\u003c/em>, where you can watch a free live simulcast with about 20 thousand fellow music lovers. Details \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pxqcD2phP2g\u003c/p>\n\u003cp>\u003cstrong>June 2-16:\u003c/strong> The film festival that provides “a manageable amount of the truth” is back. The 15th annual SF Documentary Festival showcases 52 films. Opening night is \u003cem>It Ain’t Pretty, \u003c/em>about Northern California’s female big wave surfers. There’s also a pair of films on the politics of abortion; \u003cem>Ear Buds: The Podcasting Documentary \u003c/em>(self-explanatory); \u003cem>Between the Beats\u003c/em>, about the rave scene in San Francisco; and \u003cem>Tear the Roof Off: the Untold Story of Parliament Funkadelic\u003c/em>, and more. Details on showings at the Vogue, Roxie, and Great Star theaters are \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/100624271\u003c/p>\n\u003cp>\u003cstrong>June 2:\u003c/strong> The Stanford Laptop Orchestra (SLORK) neatly blends Stanford’s push for the arts with its reputation as a place for tech wizards. Founded by Assistant Professor Ge Wang, the ensemble plays original and wonderfully weird music that seem designed to induce ecstatic trance states. Stanford is now the oldest of 70 laptop orchestras around the country. Check out the \u003ca href=\"http://ww2.kqed.org/news/2015/04/25/behind-the-scenes-at-the-stanford-laptop-orchestra\" target=\"_blank\" rel=\"noopener\">KQED story by reporter April Dembosky \u003c/a>from last year. And details for SLORK’s season ending concert are \u003ca href=\"http://slork.stanford.edu/events/2016/spring/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11619886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11619886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/1142_MAN-800x534.jpg\" alt=\"James Carpenter as Beatrice and Stacy Ross as Benedick in California Shakespeare Theater's production of MUCH ADO ABOUT NOTHING, directed by Jackson Gay.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Carpenter as Beatrice and Stacy Ross as Benedick in California Shakespeare Theater’s production of MUCH ADO ABOUT NOTHING, directed by Jackson Gay. \u003ccite>(Photo: Alessandra Mello/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>California Shakespeare Theater’s new leader is in town. \u003ca href=\"http://www.calshakes.org/v4/aboutus/whoweare.html#jm\" target=\"_blank\" rel=\"noopener\">Artistic Director Eric Ting\u003c/a> takes over the company known for both its fresh productions of the classics and its world premieres. And Ting, a new play specialist who’s come to the East Bay from \u003ca href=\"http://www.longwharf.org/\" target=\"_blank\" rel=\"noopener\">The Longwharf Theater\u003c/a> in New Haven, Connecticut, says he plans to keep up the innovation begun by his predecessor Jon Moscone. “This idea of looking at these old stories as though they were new again. Looking at these old plays as if they were new plays was just a kind of remarkable opportunity.” Later this season Ting will direct a version of Shakespeare’s \u003ca href=\"https://tickets.calshakes.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Othello\u003c/em>\u003c/a> steeped in the politics of Islamophobia. The season has just opened with Shakespeare’s \u003cem>Much Ado About Nothing\u003c/em> as adapted by playwright Kenneth Lin and director Jackson Gay, and some gender reversals with Bay Area actors James Carpenter playing Beatrix and Stacy Ross playing Benedick. Details \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=DD950D7D-BE97-471D-B780-7EDB556DED0E\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MGs1-bfiYFQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 2-3:\u003c/strong> Comedian Tim Heidecker of \u003ca href=\"http://www.timanderic.com/\" target=\"_blank\" rel=\"noopener\">Tim and Eric\u003c/a> seems to be going all sincere on us here, with an album of throwback folk-rock about nice things, pleasant things — stuff like how cool it is to live in Glendale. Heidecker says he always liked to sing, and played in indie bands while living in Philadelphia. But take heart, the songs have a surreal or satiric edge as well, with titles like “Good Looking Babies” and “I Saw Nicolas Cage,” And check out the hilarious video above for “Work from Home.” Details for his show at \u003ca href=\"http://www.theindependentsf.com/event/1080749-tim-heidecker-his-ten-piece-san-francisco/\" target=\"_blank\" rel=\"noopener\">the Independent are here\u003c/a>. And he’s at Harlow’s in Sacramento June 3 , details \u003ca href=\"http://www.harlows.com/event/1089357-tim-heidecker-his-ten-piece-sacramento/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cfigure id=\"attachment_11619760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11619760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-800x533.jpg\" alt=\"Karita Matilla in Jenufa at the Metropolitan Opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/15-Jenufa_Beatriz-Schiller-1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karita Matilla in Jenufa at the Metropolitan Opera \u003ccite>(Photo: Beatriz Schiller/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 27-July 2:\u003c/strong> San Francisco’s brief summer opera season opens with what one critic called “theatrical dynamite,” Calixto Bieito’s staging of Bizet’s \u003cem>Carmen\u003c/em> as a tale of masculine oppression set in post-Franco Spain. Then Verdi takes us back to 16th century Spain in his\u003ci> Don Carlo\u003c/i>, set during the inquisition, in which a king and his son vie for the same woman. Then Janáček’s Jenůfa returns, after too many seasons of neglect. The great Karita Mattila plays the step-mother with Malin Byström in the title role. Details for \u003cem>Carmen\u003c/em> are\u003ca href=\"http://sfopera.com/discover-opera/1516-season/carmen/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>; for \u003cem>Don Carlo \u003c/em>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/don-carlo/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>; and for \u003cem>Jenůfa \u003c/em>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/jenufa/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And if you’re daunted by opera prices, register for the July 2 \u003cem>San Francisco Opera at AT&T Park\u003c/em>, where you can watch a free live simulcast with about 20 thousand fellow music lovers. Details \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pxqcD2phP2g'\n title='//www.youtube.com/embed/pxqcD2phP2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 2-16:\u003c/strong> The film festival that provides “a manageable amount of the truth” is back. The 15th annual SF Documentary Festival showcases 52 films. Opening night is \u003cem>It Ain’t Pretty, \u003c/em>about Northern California’s female big wave surfers. There’s also a pair of films on the politics of abortion; \u003cem>Ear Buds: The Podcasting Documentary \u003c/em>(self-explanatory); \u003cem>Between the Beats\u003c/em>, about the rave scene in San Francisco; and \u003cem>Tear the Roof Off: the Untold Story of Parliament Funkadelic\u003c/em>, and more. Details on showings at the Vogue, Roxie, and Great Star theaters are \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>June 2:\u003c/strong> The Stanford Laptop Orchestra (SLORK) neatly blends Stanford’s push for the arts with its reputation as a place for tech wizards. Founded by Assistant Professor Ge Wang, the ensemble plays original and wonderfully weird music that seem designed to induce ecstatic trance states. Stanford is now the oldest of 70 laptop orchestras around the country. Check out the \u003ca href=\"http://ww2.kqed.org/news/2015/04/25/behind-the-scenes-at-the-stanford-laptop-orchestra\" target=\"_blank\" rel=\"noopener\">KQED story by reporter April Dembosky \u003c/a>from last year. And details for SLORK’s season ending concert are \u003ca href=\"http://slork.stanford.edu/events/2016/spring/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11619886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11619886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/1142_MAN-800x534.jpg\" alt=\"James Carpenter as Beatrice and Stacy Ross as Benedick in California Shakespeare Theater's production of MUCH ADO ABOUT NOTHING, directed by Jackson Gay.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1142_MAN-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Carpenter as Beatrice and Stacy Ross as Benedick in California Shakespeare Theater’s production of MUCH ADO ABOUT NOTHING, directed by Jackson Gay. \u003ccite>(Photo: Alessandra Mello/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>California Shakespeare Theater’s new leader is in town. \u003ca href=\"http://www.calshakes.org/v4/aboutus/whoweare.html#jm\" target=\"_blank\" rel=\"noopener\">Artistic Director Eric Ting\u003c/a> takes over the company known for both its fresh productions of the classics and its world premieres. And Ting, a new play specialist who’s come to the East Bay from \u003ca href=\"http://www.longwharf.org/\" target=\"_blank\" rel=\"noopener\">The Longwharf Theater\u003c/a> in New Haven, Connecticut, says he plans to keep up the innovation begun by his predecessor Jon Moscone. “This idea of looking at these old stories as though they were new again. Looking at these old plays as if they were new plays was just a kind of remarkable opportunity.” Later this season Ting will direct a version of Shakespeare’s \u003ca href=\"https://tickets.calshakes.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Othello\u003c/em>\u003c/a> steeped in the politics of Islamophobia. The season has just opened with Shakespeare’s \u003cem>Much Ado About Nothing\u003c/em> as adapted by playwright Kenneth Lin and director Jackson Gay, and some gender reversals with Bay Area actors James Carpenter playing Beatrix and Stacy Ross playing Benedick. Details \u003ca href=\"https://tickets.calshakes.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=DD950D7D-BE97-471D-B780-7EDB556DED0E\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Chechen strongman Ramzan Kadyrov and HBO host John Oliver are locked in a public spat over a lost cat.\u003c/p>\n\u003cp>First, Kadyrov — the leader of the Russian republic of Chechnya whose forces have been \u003ca href=\"https://www.hrw.org/news/2016/04/13/dispatches-price-dissent-chechnya\">accused of torture\u003c/a> — asked his 1.8 million Instagram followers for help finding his missing cat.\u003c/p>\n\u003cp>“We have completely lost our cat,” the staunch ally of Russian President Vladmir Putin posted, according to \u003ca href=\"http://www.theguardian.com/world/2016/may/20/chechen-leader-kadyrov-instagram-cat\" target=\"_blank\" rel=\"noopener\">a translation from \u003cem>The Guardian\u003c/em>\u003c/a>. “We have begun to seriously worry.” He appealed to his followers for any information about the feline’s whereabouts.\u003c/p>\n\u003cp>https://www.instagram.com/p/BFd2vWNiRul/\u003c/p>\n\u003cp>Then, Oliver picked up the news for a segment on his satirical current events show, \u003cem>Last Week Tonight with John Oliver\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oliver pokes fun at Kadyrov’s prolific Instagram feed, which, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/21/478968296/chechen-strongman-takes-to-instagram-to-search-for-his-lost-cat\" target=\"_blank\" rel=\"noopener\">as we reported\u003c/a>, runs the gamut from mundane to completely outrageous — including a video \u003ca href=\"https://www.instagram.com/p/71FvV0iRjq/\" target=\"_blank\" rel=\"noopener\">where he apparently wrestles a crocodile\u003c/a>, and a \u003ca href=\"https://www.instagram.com/p/3G06hziRmd/\" target=\"_blank\" rel=\"noopener\">trailer for a Hollywood-style action film\u003c/a> in which he stars. Kadyrov’s workout routine (mainly weightlifting and boxing) \u003ca href=\"https://www.instagram.com/p/BByQeDtiRgW/\" target=\"_blank\" rel=\"noopener\">is also a regular feature\u003c/a>.\u003c/p>\n\u003cp>“Kadyrov is basically like a can of Monster energy drink come to life,” Oliver says. “And honestly, I cannot recommend his Instagram feed enough.” He continues:\u003c/p>\n\u003cblockquote>\n\u003cp>“It almost makes you forget he was once accused of beating a prisoner with a shovel handle before executing him. Almost, but not quite.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Oliver’s conclusion: “For the good of the Chechen people and stability in the whole region, we have to find this f*****’s cat.” He urges viewers to join a campaign called #FindKadyrovsCat — basically designed to taunt the strongman by flooding him with pictures of random cats asking if they belong to him.\u003c/p>\n\u003cp>For example:\u003c/p>\n\u003cp>https://twitter.com/iamjohnoliver/status/734728962119770112\u003c/p>\n\u003cp>Oliver also points out that in picture after picture on his account, Kadyrov is wearing T-shirts adorned with images of Putin, like this one:\u003c/p>\n\u003cp>https://www.instagram.com/p/_UWFKhiRlI/\u003c/p>\n\u003cp>In response, the apparently incensed authoritarian leader altered Oliver’s picture to remove the cat and replace it with a Putin T-shirt.\u003c/p>\n\u003cp>https://www.instagram.com/p/BFwpvHMiRqM/\u003c/p>\n\u003cp>“I’m tired of jokes. I want to care for cats in Chechnya. By the way, Putin is our leader!” text on the photo reads.\u003c/p>\n\u003cp>Kadyrov says Oliver’s campaign prompted a big response. “I receive lots of photos. Some people say that they saw the cat in Vladivostok, Japan, Iceland, New Zealand, and even in the Oval Office of the White House!” the caption reads. He adds: “I am grateful to all, but this is NOT my cat.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Kadyrov downplayed concerns about the missing cat’s well-being, saying the cat leaves the house “in spring from time to time.” He explains:\u003c/p>\n\u003cblockquote>\n\u003cp>“He also needs to meet with friends, mingle and share news. By cat rumors he has in our district a familiar she-cat with which he’s going to start a family. I’m sure that after spring affairs, the cat will return to native walls. Perhaps, he’ll bring his sweet love with him.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+The+Cat%27s+Away%3A+Chechen+Strongman+Spars+With+John+Oliver+Over+Lost+Feline&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oliver pokes fun at Kadyrov’s prolific Instagram feed, which, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/21/478968296/chechen-strongman-takes-to-instagram-to-search-for-his-lost-cat\" target=\"_blank\" rel=\"noopener\">as we reported\u003c/a>, runs the gamut from mundane to completely outrageous — including a video \u003ca href=\"https://www.instagram.com/p/71FvV0iRjq/\" target=\"_blank\" rel=\"noopener\">where he apparently wrestles a crocodile\u003c/a>, and a \u003ca href=\"https://www.instagram.com/p/3G06hziRmd/\" target=\"_blank\" rel=\"noopener\">trailer for a Hollywood-style action film\u003c/a> in which he stars. Kadyrov’s workout routine (mainly weightlifting and boxing) \u003ca href=\"https://www.instagram.com/p/BByQeDtiRgW/\" target=\"_blank\" rel=\"noopener\">is also a regular feature\u003c/a>.\u003c/p>\n\u003cp>“Kadyrov is basically like a can of Monster energy drink come to life,” Oliver says. “And honestly, I cannot recommend his Instagram feed enough.” He continues:\u003c/p>\n\u003cblockquote>\n\u003cp>“It almost makes you forget he was once accused of beating a prisoner with a shovel handle before executing him. Almost, but not quite.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Oliver’s conclusion: “For the good of the Chechen people and stability in the whole region, we have to find this f*****’s cat.” He urges viewers to join a campaign called #FindKadyrovsCat — basically designed to taunt the strongman by flooding him with pictures of random cats asking if they belong to him.\u003c/p>\n\u003cp>For example:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>She called him “Mr. Cosby” and considered him a trusted friend and mentor.\u003c/p>\n\u003cp>But 20 minutes after Bill Cosby offered her three blue pills and told her to take them with the wine he had set out, Andrea Constand’s legs began to wobble “like jelly,” her eyes went blurry and her head began to throb.\u003c/p>\n\u003cp>Cosby helped her to a couch in his living room, where she later realized he violated her as she lay helplessly in a stupor, she told police in 2005.\u003c/p>\n\u003cp>[contextly_sidebar id=”xneQF7bLBpdeanaPIZsmFGV9z9uvDrDc”]\u003c/p>\n\u003cp>On Tuesday, a judge ordered the 78-year-old Cosby to stand trial on sexual assault charges on the strength of Constand’s decade-old police statement, sparing the former Temple University employee the need to testify at the preliminary hearing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby could get 10 years in prison if convicted in the case, the only criminal charges brought against the comedian out of the barrage of allegations that he drugged and molested dozens of women over five decades. He is free on $1 million bail.\u003c/p>\n\u003cp>A trial date was not immediately set.\u003c/p>\n\u003cp>Cosby, looking less frail than he did when he was arrested five months ago, seemed unfazed by District Judge Elizabeth McHugh’s decision.\u003c/p>\n\u003cp>“Mr. Cosby is not guilty of any crime, and not one single fact presented by the commonwealth rebuts this truth,” his lawyers said in a statement afterward.\u003c/p>\n\u003cp>The hearing was not the face-to-face confrontation between accuser and accused that some had anticipated: Constand, who is now a massage therapist in Toronto, was not in the courtroom, and the judge ruled that she did not have to testify at this stage. Instead, prosecutors had portions of her 2005 police statement read into the record.\u003c/p>\n\u003cp>While authorities in recent months have paraphrased her account and quoted fragments, this was apparently the first time that large sections of her statement — or Cosby’s, for that matter — were made public.\u003c/p>\n\u003cp>Constand told police that the comedian penetrated her with his fingers and fondled her at his suburban Philadelphia mansion in 2004 after giving her what he said was herbal medication. After taking the pills, she said, “everything was blurry and dizzy.”\u003c/p>\n\u003cp>“I told him, ‘I can’t even talk, Mr. Cosby.’ I started to panic,” she told police.\u003c/p>\n\u003cp>She said she awoke with her bra askew and did not remember undoing it.\u003c/p>\n\u003cp>Cosby’s lawyers argued unsuccessfully that having a police officer read Constand’s statement instead of putting her on the stand would be third-hand testimony and would deprive him of his right to confront his accuser. But reading a police statement into the record is common practice at preliminary hearings in Pennsylvania.\u003c/p>\n\u003cp>The defense also argued that Constand was having a relationship with a married man and that they had engaged in “petting” during her two or three earlier visits to his home.\u003c/p>\n\u003cp>In his own 2005 statement to police, excerpts of which were also read in court, Cosby said Constand never said “no” as he put his hand down her pants. He told police the pills were over-the-counter Benadryl that he takes to help him sleep.\u003c/p>\n\u003cp>Cosby attorney Brian McMonagle also questioned why Constand continued to see the comedian and even returned to the house to meet with him after the alleged assault.\u003c/p>\n\u003cp>In addition, the defense seized on discrepancies in the three police statements Constand gave, including her shifting memory of precisely when the encounter occurred.\u003c/p>\n\u003cp>Cosby settled with Constand for an undisclosed sum in 2006 after testifying behind closed doors about his extramarital affairs, his use of quaaludes to seduce women and his efforts to hide payments to former lovers from his wife.\u003c/p>\n\u003cp>But prosecutors reopened the criminal case last year after dozens of women leveled similar allegations and after Cosby’s sealed testimony in Constand’s lawsuit was made public.\u003c/p>\n\u003cp>Cosby’s lawyers are trying to get the case thrown out, arguing that a previous prosecutor made a binding promise a decade ago that the comic would never be charged.\u003c/p>\n\u003cp>He is also fighting defamation lawsuits across the country for allegedly branding his accusers liars and is trying to get his homeowner insurance to pay his legal bills.\u003c/p>\n\u003cp>The Associated Press does not normally identify people who say they were victims of sex crimes unless they agree to be named publicly, which Constand has done.\u003c/p>\n\u003cp>_____\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby could get 10 years in prison if convicted in the case, the only criminal charges brought against the comedian out of the barrage of allegations that he drugged and molested dozens of women over five decades. He is free on $1 million bail.\u003c/p>\n\u003cp>A trial date was not immediately set.\u003c/p>\n\u003cp>Cosby, looking less frail than he did when he was arrested five months ago, seemed unfazed by District Judge Elizabeth McHugh’s decision.\u003c/p>\n\u003cp>“Mr. Cosby is not guilty of any crime, and not one single fact presented by the commonwealth rebuts this truth,” his lawyers said in a statement afterward.\u003c/p>\n\u003cp>The hearing was not the face-to-face confrontation between accuser and accused that some had anticipated: Constand, who is now a massage therapist in Toronto, was not in the courtroom, and the judge ruled that she did not have to testify at this stage. Instead, prosecutors had portions of her 2005 police statement read into the record.\u003c/p>\n\u003cp>While authorities in recent months have paraphrased her account and quoted fragments, this was apparently the first time that large sections of her statement — or Cosby’s, for that matter — were made public.\u003c/p>\n\u003cp>Constand told police that the comedian penetrated her with his fingers and fondled her at his suburban Philadelphia mansion in 2004 after giving her what he said was herbal medication. After taking the pills, she said, “everything was blurry and dizzy.”\u003c/p>\n\u003cp>“I told him, ‘I can’t even talk, Mr. Cosby.’ I started to panic,” she told police.\u003c/p>\n\u003cp>She said she awoke with her bra askew and did not remember undoing it.\u003c/p>\n\u003cp>Cosby’s lawyers argued unsuccessfully that having a police officer read Constand’s statement instead of putting her on the stand would be third-hand testimony and would deprive him of his right to confront his accuser. But reading a police statement into the record is common practice at preliminary hearings in Pennsylvania.\u003c/p>\n\u003cp>The defense also argued that Constand was having a relationship with a married man and that they had engaged in “petting” during her two or three earlier visits to his home.\u003c/p>\n\u003cp>In his own 2005 statement to police, excerpts of which were also read in court, Cosby said Constand never said “no” as he put his hand down her pants. He told police the pills were over-the-counter Benadryl that he takes to help him sleep.\u003c/p>\n\u003cp>Cosby attorney Brian McMonagle also questioned why Constand continued to see the comedian and even returned to the house to meet with him after the alleged assault.\u003c/p>\n\u003cp>In addition, the defense seized on discrepancies in the three police statements Constand gave, including her shifting memory of precisely when the encounter occurred.\u003c/p>\n\u003cp>Cosby settled with Constand for an undisclosed sum in 2006 after testifying behind closed doors about his extramarital affairs, his use of quaaludes to seduce women and his efforts to hide payments to former lovers from his wife.\u003c/p>\n\u003cp>But prosecutors reopened the criminal case last year after dozens of women leveled similar allegations and after Cosby’s sealed testimony in Constand’s lawsuit was made public.\u003c/p>\n\u003cp>Cosby’s lawyers are trying to get the case thrown out, arguing that a previous prosecutor made a binding promise a decade ago that the comic would never be charged.\u003c/p>\n\u003cp>He is also fighting defamation lawsuits across the country for allegedly branding his accusers liars and is trying to get his homeowner insurance to pay his legal bills.\u003c/p>\n\u003cp>The Associated Press does not normally identify people who say they were victims of sex crimes unless they agree to be named publicly, which Constand has done.\u003c/p>\n\u003cp>_____\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nick Menza, former drummer for the influential metal band Megadeth, died after collapsing on stage during a performance of his progressive jazz trio in Southern California, a family spokesman said Sunday.\u003c/p>\n\u003cp>Menza’s latest band OHM was three songs into a semi-regular set at a Los Angeles-area club Saturday night when the drummer collapsed, J. Marshall Craig told The Associated Press. Friends and audience members rendered aid while paramedics were called.\u003c/p>\n\u003cp>The 51-year-old died at the club of a suspected massive heart attack, Craig said.\u003c/p>\n\u003cp>Menza was Megadeth’s longest-serving drummer, performing on five records over nine years, including 1990’s thrash metal landmark,\u003cem> Rust In Peace\u003c/em>.\u003c/p>\n\u003cp>Dave Mustaine, singer, guitarist and co-founder of Megadeth, said in a statement that he awoke to a text message from his son with the news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Shocked, devastated, and saddened don’t begin to describe my feelings,” Mustaine said.\u003c/p>\n\u003cp>“As a player, Nick had a very powerful jazzy flair, unpredictable and always entertaining, and as great a drummer as he was, the time spent with him as a person, a bandmate, and a friend was even more fun,” Mustaine’s statement said.\u003c/p>\n\u003cp>Marty Friedman, the band’s guitarist from 1990 to 2000, wrote on Facebook that Menza was “a great and unique drummer” and “a trustworthy friend, a hilarious bandmate, as well as a very loving dad.”\u003c/p>\n\u003cp>After leaving Megadeth in 1998, Menza pursued an interest in jazz and became an accomplished woodworker.\u003c/p>\n\u003cp>Mustaine said he discussed Menza returning to the band several times, “but for various reasons it never came together.”\u003c/p>\n\u003cp>Menza’s autobiography, co-written by Craig, will detail the drummer’s life in and out of music and is set for a July release.\u003c/p>\n\u003cp>He is survived by his mother and father, the jazz saxophonist Don Menza, and two sons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Shocked, devastated, and saddened don’t begin to describe my feelings,” Mustaine said.\u003c/p>\n\u003cp>“As a player, Nick had a very powerful jazzy flair, unpredictable and always entertaining, and as great a drummer as he was, the time spent with him as a person, a bandmate, and a friend was even more fun,” Mustaine’s statement said.\u003c/p>\n\u003cp>Marty Friedman, the band’s guitarist from 1990 to 2000, wrote on Facebook that Menza was “a great and unique drummer” and “a trustworthy friend, a hilarious bandmate, as well as a very loving dad.”\u003c/p>\n\u003cp>After leaving Megadeth in 1998, Menza pursued an interest in jazz and became an accomplished woodworker.\u003c/p>\n\u003cp>Mustaine said he discussed Menza returning to the band several times, “but for various reasons it never came together.”\u003c/p>\n\u003cp>Menza’s autobiography, co-written by Craig, will detail the drummer’s life in and out of music and is set for a July release.\u003c/p>\n\u003cp>He is survived by his mother and father, the jazz saxophonist Don Menza, and two sons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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