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"content": "\u003cp>Stanford has appointed Chris Lorway as the new executive director of \u003ca href=\"https://live.stanford.edu/\">Stanford Live\u003c/a> and \u003ca href=\"http://live.stanford.edu/plan-your-visit/venues/bing-concert-hall\">Bing Concert Hall\u003c/a>, the university’s main cultural presenting organization and venue.\u003c/p>\n\u003cp>The role is a key one on the Bay Area cultural scene: Stanford Live is one of the most well-respected university-based arts presenters in the United States, and the Bing Concert Hall, which opened in January 2013 and cost more than $110 million to build, is Silicon Valley’s most prominent classical music venue.\u003c/p>\n\u003cp>Lorway comes to Stanford from his role as director of programming and marketing at \u003ca href=\"http://www.masseyhall.com/venues\">Massey Hall and Roy Thomson Hall\u003c/a> in Toronto, home of the Toronto Symphony Orchestra and the Toronto International Film Festival. Before that, he was the executive director of \u003ca href=\"https://www.soundstreams.ca/\">Soundstreams\u003c/a>, a Toronto-based music presenter of contemporary composers. Additional career credits include the Lincoln Center Festival, The New Yorker Festival, and Toronto’s \u003ca href=\"https://luminatofestival.com/\">Luminato Festival\u003c/a>, where he served as founding artistic director.\u003c/p>\n\u003cfigure id=\"attachment_11594125\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11594125\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-400x600.jpg\" alt=\"Chris Lowery, the incoming head of Stanford Live and Bing Concert Hall\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-960x1440.jpg 960w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Lorway, the incoming head of Stanford Live and Bing Concert Hall \u003ccite>(Photo: Courtesy of Stanford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As Stanford Live approached its fifth season, we sought leadership with a long-term vision,” says Leslie Hume, co-chair of the Stanford Live Advisory Council, and co-chair of the search committee for Lorway’s position. “A compelling depth and breadth of experience in performing arts presentation, an excitement about exploring an expansive diversity of music and a creative approach to engaging new audiences were key criteria.”\u003c/p>\n\u003cp>Lorway is hopeful the university-based audience will have an appetite for challenging work. But he’s also interested in maintaining a balance between difficult and more accessible art. “Every season has to be about balance,” Lorway says. “You try to find things that are going to challenge your audience, but you also find things that you know are going to excite people, things that they really want to see.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lorway describes his approach to programming as one that might include balancing appearances by internationally-famed artists like cellist \u003ca href=\"http://www.yo-yoma.com/\" target=\"_blank\" rel=\"noopener\">Yo-Yo Ma\u003c/a> and comedian/singer \u003ca href=\"https://www.facebook.com/kristinchenoweth\" target=\"_blank\" rel=\"noopener\">Kristin Chenoweth\u003c/a>, with lesser known, boundary-pushing creatives such as choreographer \u003ca href=\"http://www.keigwinandcompany.com/larry-keigwin/\" target=\"_blank\" rel=\"noopener\">Larry Keigwin\u003c/a> who recruits civilians to participate in performances. “That’s a way of defining our region and articulating who we are as a people,” Lorway says.\u003c/p>\n\u003cp>The incoming director also says he’s keen to make use of the space outside the concert hall. “There are so many opportunities for the arts to spill out onto the campus to create unexpected encounters with art,” Lorway says.\u003c/p>\n\u003cp>[contextly_sidebar id=”WonCOffP7HIHoYQn6dWUyvnN0SECfyrl”]Lorway succeeds \u003ca href=\"http://news.stanford.edu/news/2013/july/qanda-wiley-hausam-072513.html\">Wiley Hausam\u003c/a>, who left Stanford last October. In the intervening months, Matthew Tiews, Stanford’s associate dean for the advancement of the arts, and Laura Evans, director of music programs, have kept things going at Stanford Live and the Bing Concert Hall.\u003c/p>\n\u003cp>Michael Zwiebach, editor of \u003ca href=\"https://www.sfcv.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Classical Voice\u003c/a>, says “On the face of it, [Lorway is] a very positive choice. Stanford Live has been a bit lackluster for the past few seasons since the incomparable Jenny Bilfield moved on to Washington.” He adds, “By resume and reputation, Lorway seems more like the kind of director who could develop a powerful artistic vision for the organization.”\u003c/p>\n\u003cp>Lowery’s tenure at Stanford begins in late summer, in time for the start of the 2016-17 season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stanford has appointed Chris Lorway as the new executive director of \u003ca href=\"https://live.stanford.edu/\">Stanford Live\u003c/a> and \u003ca href=\"http://live.stanford.edu/plan-your-visit/venues/bing-concert-hall\">Bing Concert Hall\u003c/a>, the university’s main cultural presenting organization and venue.\u003c/p>\n\u003cp>The role is a key one on the Bay Area cultural scene: Stanford Live is one of the most well-respected university-based arts presenters in the United States, and the Bing Concert Hall, which opened in January 2013 and cost more than $110 million to build, is Silicon Valley’s most prominent classical music venue.\u003c/p>\n\u003cp>Lorway comes to Stanford from his role as director of programming and marketing at \u003ca href=\"http://www.masseyhall.com/venues\">Massey Hall and Roy Thomson Hall\u003c/a> in Toronto, home of the Toronto Symphony Orchestra and the Toronto International Film Festival. Before that, he was the executive director of \u003ca href=\"https://www.soundstreams.ca/\">Soundstreams\u003c/a>, a Toronto-based music presenter of contemporary composers. Additional career credits include the Lincoln Center Festival, The New Yorker Festival, and Toronto’s \u003ca href=\"https://luminatofestival.com/\">Luminato Festival\u003c/a>, where he served as founding artistic director.\u003c/p>\n\u003cfigure id=\"attachment_11594125\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11594125\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-400x600.jpg\" alt=\"Chris Lowery, the incoming head of Stanford Live and Bing Concert Hall\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RS19532_Chris_Lorway-qut-960x1440.jpg 960w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Lorway, the incoming head of Stanford Live and Bing Concert Hall \u003ccite>(Photo: Courtesy of Stanford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As Stanford Live approached its fifth season, we sought leadership with a long-term vision,” says Leslie Hume, co-chair of the Stanford Live Advisory Council, and co-chair of the search committee for Lorway’s position. “A compelling depth and breadth of experience in performing arts presentation, an excitement about exploring an expansive diversity of music and a creative approach to engaging new audiences were key criteria.”\u003c/p>\n\u003cp>Lorway is hopeful the university-based audience will have an appetite for challenging work. But he’s also interested in maintaining a balance between difficult and more accessible art. “Every season has to be about balance,” Lorway says. “You try to find things that are going to challenge your audience, but you also find things that you know are going to excite people, things that they really want to see.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lorway describes his approach to programming as one that might include balancing appearances by internationally-famed artists like cellist \u003ca href=\"http://www.yo-yoma.com/\" target=\"_blank\" rel=\"noopener\">Yo-Yo Ma\u003c/a> and comedian/singer \u003ca href=\"https://www.facebook.com/kristinchenoweth\" target=\"_blank\" rel=\"noopener\">Kristin Chenoweth\u003c/a>, with lesser known, boundary-pushing creatives such as choreographer \u003ca href=\"http://www.keigwinandcompany.com/larry-keigwin/\" target=\"_blank\" rel=\"noopener\">Larry Keigwin\u003c/a> who recruits civilians to participate in performances. “That’s a way of defining our region and articulating who we are as a people,” Lorway says.\u003c/p>\n\u003cp>The incoming director also says he’s keen to make use of the space outside the concert hall. “There are so many opportunities for the arts to spill out onto the campus to create unexpected encounters with art,” Lorway says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>Lorway succeeds \u003ca href=\"http://news.stanford.edu/news/2013/july/qanda-wiley-hausam-072513.html\">Wiley Hausam\u003c/a>, who left Stanford last October. In the intervening months, Matthew Tiews, Stanford’s associate dean for the advancement of the arts, and Laura Evans, director of music programs, have kept things going at Stanford Live and the Bing Concert Hall.\u003c/p>\n\u003cp>Michael Zwiebach, editor of \u003ca href=\"https://www.sfcv.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Classical Voice\u003c/a>, says “On the face of it, [Lorway is] a very positive choice. Stanford Live has been a bit lackluster for the past few seasons since the incomparable Jenny Bilfield moved on to Washington.” He adds, “By resume and reputation, Lorway seems more like the kind of director who could develop a powerful artistic vision for the organization.”\u003c/p>\n\u003cp>Lowery’s tenure at Stanford begins in late summer, in time for the start of the 2016-17 season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "for-70-years-a-mug-in-auschwitz-held-a-secret-treasure",
"title": "For 70 Years, a Mug In Auschwitz Held a Secret Treasure",
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"headTitle": "For 70 Years, a Mug In Auschwitz Held a Secret Treasure | KQED",
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"content": "\u003cp>From the outside, it looked like any of the other mugs in the Auschwitz museum.\u003c/p>\n\u003cp>But on the inside, this one had a secret — faithfully kept for seven decades.\u003c/p>\n\u003cp>A false bottom concealed a gold necklace and a gold ring inlaid with stones.\u003c/p>\n\u003cp>The enameled mug was one of more than 12,000 pieces of kitchenware that Nazis stole from people sent to the Auschwitz concentration camp in occupied Poland.\u003c/p>\n\u003cp>“The Germans incessantly lied to the Jews deported for extermination,” Dr. Piotr M.A. Cywinski, the director of the Auschwitz-Birkenau State Museum, \u003ca href=\"http://auschwitz.org/en/museum/news/gold-ring-found-under-a-double-bottom-after-more-than-70-years,1200.html\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a>. “They were told about resettlement, work and life in a different location.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the Nazis would allow Jews to take only a small amount of luggage. It was a calculated move: If you were going to start a new life, and could only take a small bag, you’d fill it with your most precious possessions.\u003c/p>\n\u003cp>So when a victim arrived at Auschwitz, the Germans could be confident they’d be able to loot their luggage and find valuables.\u003c/p>\n\u003cfigure id=\"attachment_11608014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg\" alt=\" Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11608014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s \u003ccite>(Photo: Marcin Inglot/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Victims often tried to hide costly possessions from sight.\u003c/p>\n\u003cp>On one hand, Cywinski says, that’s proof that Jewish families were well aware that their belongings would be looted during their deportation.\u003c/p>\n\u003cp>But it’s also a heartbreaking reminder of how much people didn’t know about the fate they faced at Auschwitz.\u003c/p>\n\u003cp>Every effort to hide valuables “shows that the Jewish families constantly had a ray of hope that these items will be required for their existence,” Cywinski says.\u003c/p>\n\u003cfigure id=\"attachment_11608015\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg\" alt=\"An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11608015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years. \u003ccite>(Photo: Courtesy of Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Despite the passage of more than 70 years since the liberation of the German Nazi concentration and extermination camp, there are still cases of accidental discovery of objects hidden by the victims,” the museum statement read.\u003c/p>\n\u003cp>And that’s what happened with the mug, which was being examined as part of routine work at the museum when the false bottom was discovered.\u003c/p>\n\u003cp>Beneath, there was a necklace coiled in a circle and wrapped in canvas, and a ring with some stones remaining in the setting.\u003c/p>\n\u003cp>“It was very well hidden, however, due to the passage of time, the materials underwent gradual degradation, and the second bottom separated from the mug,” Hanna Kubik of the Memorial Collections said in the museum’s statement.\u003c/p>\n\u003cp>The museum says that while every find is “carefully documented,” it is often impossible to connect a personal item to the victim who owned it because of a a lack of identifying characteristics.\u003c/p>\n\u003cfigure id=\"attachment_11608016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg\" alt=\"The necklace was carefully wrapped in canvas before being concealed in the mug\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11608016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The necklace was carefully wrapped in canvas before being concealed in the mug \u003ccite>(Courtesy of Mirosław Maciaszczyk/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The jewellery found in the mug will be stored in the Collections of the Museum in the form reflecting the manner in which it had been hidden by the owner, as a testimony to the fate of the Jews deported to the German Nazi concentration and extermination camp,” the museum writes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than 1 million prisoners, mostly Jews, died at Auschwitz during the Holocaust. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+70+Years%2C+A+Mug+In+Auschwitz+Held+A+Secret+Treasure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the outside, it looked like any of the other mugs in the Auschwitz museum.\u003c/p>\n\u003cp>But on the inside, this one had a secret — faithfully kept for seven decades.\u003c/p>\n\u003cp>A false bottom concealed a gold necklace and a gold ring inlaid with stones.\u003c/p>\n\u003cp>The enameled mug was one of more than 12,000 pieces of kitchenware that Nazis stole from people sent to the Auschwitz concentration camp in occupied Poland.\u003c/p>\n\u003cp>“The Germans incessantly lied to the Jews deported for extermination,” Dr. Piotr M.A. Cywinski, the director of the Auschwitz-Birkenau State Museum, \u003ca href=\"http://auschwitz.org/en/museum/news/gold-ring-found-under-a-double-bottom-after-more-than-70-years,1200.html\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a>. “They were told about resettlement, work and life in a different location.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the Nazis would allow Jews to take only a small amount of luggage. It was a calculated move: If you were going to start a new life, and could only take a small bag, you’d fill it with your most precious possessions.\u003c/p>\n\u003cp>So when a victim arrived at Auschwitz, the Germans could be confident they’d be able to loot their luggage and find valuables.\u003c/p>\n\u003cfigure id=\"attachment_11608014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg\" alt=\" Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11608014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s \u003ccite>(Photo: Marcin Inglot/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Victims often tried to hide costly possessions from sight.\u003c/p>\n\u003cp>On one hand, Cywinski says, that’s proof that Jewish families were well aware that their belongings would be looted during their deportation.\u003c/p>\n\u003cp>But it’s also a heartbreaking reminder of how much people didn’t know about the fate they faced at Auschwitz.\u003c/p>\n\u003cp>Every effort to hide valuables “shows that the Jewish families constantly had a ray of hope that these items will be required for their existence,” Cywinski says.\u003c/p>\n\u003cfigure id=\"attachment_11608015\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg\" alt=\"An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11608015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years. \u003ccite>(Photo: Courtesy of Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Despite the passage of more than 70 years since the liberation of the German Nazi concentration and extermination camp, there are still cases of accidental discovery of objects hidden by the victims,” the museum statement read.\u003c/p>\n\u003cp>And that’s what happened with the mug, which was being examined as part of routine work at the museum when the false bottom was discovered.\u003c/p>\n\u003cp>Beneath, there was a necklace coiled in a circle and wrapped in canvas, and a ring with some stones remaining in the setting.\u003c/p>\n\u003cp>“It was very well hidden, however, due to the passage of time, the materials underwent gradual degradation, and the second bottom separated from the mug,” Hanna Kubik of the Memorial Collections said in the museum’s statement.\u003c/p>\n\u003cp>The museum says that while every find is “carefully documented,” it is often impossible to connect a personal item to the victim who owned it because of a a lack of identifying characteristics.\u003c/p>\n\u003cfigure id=\"attachment_11608016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg\" alt=\"The necklace was carefully wrapped in canvas before being concealed in the mug\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11608016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The necklace was carefully wrapped in canvas before being concealed in the mug \u003ccite>(Courtesy of Mirosław Maciaszczyk/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The jewellery found in the mug will be stored in the Collections of the Museum in the form reflecting the manner in which it had been hidden by the owner, as a testimony to the fate of the Jews deported to the German Nazi concentration and extermination camp,” the museum writes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than 1 million prisoners, mostly Jews, died at Auschwitz during the Holocaust. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+70+Years%2C+A+Mug+In+Auschwitz+Held+A+Secret+Treasure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Peek Into the CIA Art Gallery Reveals [REDACTED]",
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"content": "\u003cp>A new oil painting has just arrived in what may be the world’s most clandestine art gallery — the fine arts collection at the headquarters of the Central Intelligence Agency.\u003c/p>\n\u003cp>This commissioned work isn’t your typical still life; the tableau is a busy clutter of gear — photos, blueprints, weapons and ammunition.\u003c/p>\n\u003cp>CIA museum director Toni Hiley says this painting — the 21st in the collection — is purposely complex. \u003ca href=\"https://www.cia.gov/news-information/featured-story-archive/2016-featured-story-archive/contingency-for-every-action-painting.html\" target=\"_blank\" rel=\"noopener\">A Contingency for Every Action\u003c/a> shows artifacts from major covert actions going back to World War II. “It’s what we call an Easter egg painting,” Hiley says. She calls it an “Easter egg” because nestled within are little hints from missions that are still classified.\u003c/p>\n\u003cp>Unless you’re a CIA officer, you’ll probably never get to see the painting in person. Which might make you wonder: Why does the CIA have an art gallery at all?\u003c/p>\n\u003cfigure id=\"attachment_11601994\" class=\"wp-caption aligncenter\" style=\"max-width: 687px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-687x600.jpg\" alt='\"ARGO — The Rescue of the Canadian Six\" was painted by an undercover CIA employee. It depicts an operation in which six Americans (\"The Canadian Six\") were rescued after the U.S. embassy in Tehran was taken over in 1979.' width=\"687\" height=\"600\" class=\"size-medium wp-image-11601994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-687x600.jpg 687w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-400x349.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-768x670.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-1180x1030.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-1920x1676.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-960x838.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9.jpg 2000w\" sizes=\"(max-width: 687px) 100vw, 687px\">\u003cfigcaption class=\"wp-caption-text\">“ARGO — The Rescue of the Canadian Six” was painted by an undercover CIA employee. It depicts an operation in which six Americans (“The Canadian Six”) were rescued after the U.S. embassy in Tehran was taken over in 1979. \u003ccite>(Photo: Courtesy of CIA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The CIA’s mission “is to go where others cannot go,” Hiley tells NPR’s Mary Louise Kelly. The museum’s collection \u003ca href=\"https://www.cia.gov/about-cia/cia-museum/experience-the-collection/index.html#!/collection\" target=\"_blank\" rel=\"noopener\">(which you can browse here)\u003c/a> is full of equipment, clothing and correspondence that go all the way back to the CIA’s predecessor, the OSS. But the museum can’t always rely on artifacts to tell the full story. “We don’t always have artifacts to act as the portal to get us to that particular part of our history,” Hiley explains.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, the museum commissions historical paintings that help ensure that new CIA employees have an opportunity to learn about the past. “Our workforce is a young workforce,” Hiley explains. “Fifty-two percent of our officers have joined since 9/11, and it’s absolutely critical that they understand where we’ve come from as an agency so they can lead us to where we will go.”\u003c/p>\n\u003cp>Some of the paintings recall dark times in CIA history. One work pays tribute to four B26 pilots who lost their lives in the 1961 Bay of Pigs Invasion. Hiley says it’s possible to find pride even in failed operations. “We’re proud of the four pilots we lost, we’re proud that we did what the president asked us to do,” she says. ” … Part of our pride is acknowledging our mistakes and learning from them.”\u003c/p>\n\u003cp>Hiley hasn’t commissioned a painting on Iraq yet, but she says “we’ve done a strategic plan on the collection, and we’re very busy trying to fill in gaps.”\u003c/p>\n\u003cfigure id=\"attachment_11602002\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/CIA-Art2.jpg\" alt='\"Cast of a Few, Courage of a Nation\" by James Dietz depicts early CIA operations in Afghanistan just after the Sept. 11 attacks.' width=\"700\" height=\"393\" class=\"size-full wp-image-11602002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/CIA-Art2.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/CIA-Art2-400x225.jpg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">“Cast of a Few, Courage of a Nation” by James Dietz depicts early CIA operations in Afghanistan just after the Sept. 11 attacks. \u003ccite>(Photo: Courtesy of CIA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Want to see more? You can browse through more \u003ca href=\"https://www.cia.gov/about-cia/cia-museum/experience-the-collection/\" target=\"_blank\" rel=\"noopener\">CIA art and artifacts here.\u003c/a>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Peek+Into+The+CIA+Art+Gallery+Reveals+%5BREDACTED%5D&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new oil painting has just arrived in what may be the world’s most clandestine art gallery — the fine arts collection at the headquarters of the Central Intelligence Agency.\u003c/p>\n\u003cp>This commissioned work isn’t your typical still life; the tableau is a busy clutter of gear — photos, blueprints, weapons and ammunition.\u003c/p>\n\u003cp>CIA museum director Toni Hiley says this painting — the 21st in the collection — is purposely complex. \u003ca href=\"https://www.cia.gov/news-information/featured-story-archive/2016-featured-story-archive/contingency-for-every-action-painting.html\" target=\"_blank\" rel=\"noopener\">A Contingency for Every Action\u003c/a> shows artifacts from major covert actions going back to World War II. “It’s what we call an Easter egg painting,” Hiley says. She calls it an “Easter egg” because nestled within are little hints from missions that are still classified.\u003c/p>\n\u003cp>Unless you’re a CIA officer, you’ll probably never get to see the painting in person. Which might make you wonder: Why does the CIA have an art gallery at all?\u003c/p>\n\u003cfigure id=\"attachment_11601994\" class=\"wp-caption aligncenter\" style=\"max-width: 687px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-687x600.jpg\" alt='\"ARGO — The Rescue of the Canadian Six\" was painted by an undercover CIA employee. It depicts an operation in which six Americans (\"The Canadian Six\") were rescued after the U.S. embassy in Tehran was taken over in 1979.' width=\"687\" height=\"600\" class=\"size-medium wp-image-11601994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-687x600.jpg 687w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-400x349.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-768x670.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-1180x1030.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-1920x1676.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9-960x838.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/argo_enl-0fa61f59f0b609e61e5570a9a704b9eb46d8dff9.jpg 2000w\" sizes=\"(max-width: 687px) 100vw, 687px\">\u003cfigcaption class=\"wp-caption-text\">“ARGO — The Rescue of the Canadian Six” was painted by an undercover CIA employee. It depicts an operation in which six Americans (“The Canadian Six”) were rescued after the U.S. embassy in Tehran was taken over in 1979. \u003ccite>(Photo: Courtesy of CIA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The CIA’s mission “is to go where others cannot go,” Hiley tells NPR’s Mary Louise Kelly. The museum’s collection \u003ca href=\"https://www.cia.gov/about-cia/cia-museum/experience-the-collection/index.html#!/collection\" target=\"_blank\" rel=\"noopener\">(which you can browse here)\u003c/a> is full of equipment, clothing and correspondence that go all the way back to the CIA’s predecessor, the OSS. But the museum can’t always rely on artifacts to tell the full story. “We don’t always have artifacts to act as the portal to get us to that particular part of our history,” Hiley explains.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, the museum commissions historical paintings that help ensure that new CIA employees have an opportunity to learn about the past. “Our workforce is a young workforce,” Hiley explains. “Fifty-two percent of our officers have joined since 9/11, and it’s absolutely critical that they understand where we’ve come from as an agency so they can lead us to where we will go.”\u003c/p>\n\u003cp>Some of the paintings recall dark times in CIA history. One work pays tribute to four B26 pilots who lost their lives in the 1961 Bay of Pigs Invasion. Hiley says it’s possible to find pride even in failed operations. “We’re proud of the four pilots we lost, we’re proud that we did what the president asked us to do,” she says. ” … Part of our pride is acknowledging our mistakes and learning from them.”\u003c/p>\n\u003cp>Hiley hasn’t commissioned a painting on Iraq yet, but she says “we’ve done a strategic plan on the collection, and we’re very busy trying to fill in gaps.”\u003c/p>\n\u003cfigure id=\"attachment_11602002\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/CIA-Art2.jpg\" alt='\"Cast of a Few, Courage of a Nation\" by James Dietz depicts early CIA operations in Afghanistan just after the Sept. 11 attacks.' width=\"700\" height=\"393\" class=\"size-full wp-image-11602002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/CIA-Art2.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/CIA-Art2-400x225.jpg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">“Cast of a Few, Courage of a Nation” by James Dietz depicts early CIA operations in Afghanistan just after the Sept. 11 attacks. \u003ccite>(Photo: Courtesy of CIA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Want to see more? You can browse through more \u003ca href=\"https://www.cia.gov/about-cia/cia-museum/experience-the-collection/\" target=\"_blank\" rel=\"noopener\">CIA art and artifacts here.\u003c/a>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Peek+Into+The+CIA+Art+Gallery+Reveals+%5BREDACTED%5D&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In any given week, teams of high-priced lawyers fan out across the country to defend Bill Cosby amid a cascade of sexual assault allegations, defamation claims and insurance disputes.\u003c/p>\n\u003cp>The disgraced TV star is spending millions in a frenzied bid not just to stay out of prison but to salvage what is left of his reputation. Legal experts say he has nothing to lose.\u003c/p>\n\u003cp>“This thing’s going to be tied up in litigation anyway, so you might as well look like you’re the aggrieved party,” said Professor Laurie Levenson of Loyola Law School in Los Angeles. “The best defense is a good offense.”\u003c/p>\n\u003cp>The biggest threat facing the comedian is the lone criminal case against him, involving allegations he drugged and sexually violated Andrea Constand at his suburban Philadelphia home more than a decade ago. Cosby, 78, could get 10 years in prison if convicted.\u003c/p>\n\u003cp>Unless he can convince the Pennsylvania Supreme Court that a previous district attorney made a binding promise that Cosby would never be prosecuted, the comic and his cadre of high-priced litigators will be back in court Tuesday for his long-delayed preliminary hearing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby also is contending with two sexual assault lawsuits, two disputes over whether his homeowner policies should cover his legal expenses, and a dozen defamation claims brought by women who came forward too late to sue over sexual assault but say they were smeared by Cosby or his representatives.\u003c/p>\n\u003cp>The criminal and civil cases have generated countless spinoff battles over such things as whether Cosby’s wife can be questioned at a deposition and whether Constand’s recent cooperation with police violated the confidentiality agreement surrounding the financial settlement she reached with Cosby in 2006.\u003c/p>\n\u003cp>The lawsuits stretch from Los Angeles to Pittsburgh to Worcester, Massachusetts, not too far from where Cosby and his wife, Camille, have a home. In the past two years alone, some two dozen Cosby lawyers have done his bidding in a variety of courts, arguing in front of local magistrates, a state supreme court and federal appeals court judges.\u003c/p>\n\u003cp>His attorneys have flown from California to Philadelphia, for example, for a brief hearing over who can see the file from Constand’s original 2005 police complaint. And they have gathered from Los Angeles, Washington and Philadelphia to pack the defense table for the so-far unsuccessful bid to get the criminal charges thrown out over the purported non-prosecution agreement.\u003c/p>\n\u003cp>“I’m sure he’s angry that he thought he made a deal with someone … and then all of a sudden the whole thing blows up on him and his whole reputation is ruined,” said celebrity lawyer Larry R. Feldman of Los Angeles, who is not involved in the Cosby case but represented a 13-year-old who sued Michael Jackson. “I’m not worried about him financially, but nobody at this stage of his life and his career, I’m sure, wants to be defending these types of claims.”\u003c/p>\n\u003cp>Joseph Cammarata, a lawyer for seven women suing Cosby in Massachusetts, said he isn’t concerned about the size of Cosby’s legal team, which he jokingly called an “economic recovery plan for lawyers.”\u003c/p>\n\u003cp>“Only one person can speak at a time. In no way, shape or form do I think I am at a disadvantage,” Cammarata said.\u003c/p>\n\u003cp>A spokesman for the legal team, Andrew Wyatt, told The Associated Press that none of the lawyers could comment on the scope of Cosby’s legal battles. However, Cammarata said in court that he was told that Cosby’s insurance company shelled out $2 million in one 15-month period for Cosby’s legal bills in his case alone.\u003c/p>\n\u003cp>Cosby’s insurer, AIG, is fighting Cosby’s efforts to have two $1 million homeowner policies, along with $35 million in excess liability coverage, kick in. AIG argues that its policies exclude coverage for sexual assault cases; Cosby’s lawyers say these are defamation cases.\u003c/p>\n\u003cp>The litigation filed around the country is almost dizzying.\u003c/p>\n\u003cp>In California, for example, Cosby faces a lawsuit filed by Judy Huth, who says she was sexually assaulted at the Playboy Mansion around 1974 when she was 15. In a defamation case, model Janice Dickinson claims Cosby drugged and raped her in Lake Tahoe in 1982. Cosby has denied any wrongdoing.\u003c/p>\n\u003cp>In Massachusetts, Cosby faces three defamation lawsuits by nine women who say they were branded liars. His wife has been forced to give a deposition, though Cosby was granted a delay because of the criminal case.\u003c/p>\n\u003cp>“I feel like I have a great big scarlet ‘L’ painted on me,” plaintiff Kristina Ruehli, 72, of Windham, New Hampshire, told the AP. “How do you get that off?”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP Entertainment Reporter Anthony McCartney contributed to this report from Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In any given week, teams of high-priced lawyers fan out across the country to defend Bill Cosby amid a cascade of sexual assault allegations, defamation claims and insurance disputes.\u003c/p>\n\u003cp>The disgraced TV star is spending millions in a frenzied bid not just to stay out of prison but to salvage what is left of his reputation. Legal experts say he has nothing to lose.\u003c/p>\n\u003cp>“This thing’s going to be tied up in litigation anyway, so you might as well look like you’re the aggrieved party,” said Professor Laurie Levenson of Loyola Law School in Los Angeles. “The best defense is a good offense.”\u003c/p>\n\u003cp>The biggest threat facing the comedian is the lone criminal case against him, involving allegations he drugged and sexually violated Andrea Constand at his suburban Philadelphia home more than a decade ago. Cosby, 78, could get 10 years in prison if convicted.\u003c/p>\n\u003cp>Unless he can convince the Pennsylvania Supreme Court that a previous district attorney made a binding promise that Cosby would never be prosecuted, the comic and his cadre of high-priced litigators will be back in court Tuesday for his long-delayed preliminary hearing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby also is contending with two sexual assault lawsuits, two disputes over whether his homeowner policies should cover his legal expenses, and a dozen defamation claims brought by women who came forward too late to sue over sexual assault but say they were smeared by Cosby or his representatives.\u003c/p>\n\u003cp>The criminal and civil cases have generated countless spinoff battles over such things as whether Cosby’s wife can be questioned at a deposition and whether Constand’s recent cooperation with police violated the confidentiality agreement surrounding the financial settlement she reached with Cosby in 2006.\u003c/p>\n\u003cp>The lawsuits stretch from Los Angeles to Pittsburgh to Worcester, Massachusetts, not too far from where Cosby and his wife, Camille, have a home. In the past two years alone, some two dozen Cosby lawyers have done his bidding in a variety of courts, arguing in front of local magistrates, a state supreme court and federal appeals court judges.\u003c/p>\n\u003cp>His attorneys have flown from California to Philadelphia, for example, for a brief hearing over who can see the file from Constand’s original 2005 police complaint. And they have gathered from Los Angeles, Washington and Philadelphia to pack the defense table for the so-far unsuccessful bid to get the criminal charges thrown out over the purported non-prosecution agreement.\u003c/p>\n\u003cp>“I’m sure he’s angry that he thought he made a deal with someone … and then all of a sudden the whole thing blows up on him and his whole reputation is ruined,” said celebrity lawyer Larry R. Feldman of Los Angeles, who is not involved in the Cosby case but represented a 13-year-old who sued Michael Jackson. “I’m not worried about him financially, but nobody at this stage of his life and his career, I’m sure, wants to be defending these types of claims.”\u003c/p>\n\u003cp>Joseph Cammarata, a lawyer for seven women suing Cosby in Massachusetts, said he isn’t concerned about the size of Cosby’s legal team, which he jokingly called an “economic recovery plan for lawyers.”\u003c/p>\n\u003cp>“Only one person can speak at a time. In no way, shape or form do I think I am at a disadvantage,” Cammarata said.\u003c/p>\n\u003cp>A spokesman for the legal team, Andrew Wyatt, told The Associated Press that none of the lawyers could comment on the scope of Cosby’s legal battles. However, Cammarata said in court that he was told that Cosby’s insurance company shelled out $2 million in one 15-month period for Cosby’s legal bills in his case alone.\u003c/p>\n\u003cp>Cosby’s insurer, AIG, is fighting Cosby’s efforts to have two $1 million homeowner policies, along with $35 million in excess liability coverage, kick in. AIG argues that its policies exclude coverage for sexual assault cases; Cosby’s lawyers say these are defamation cases.\u003c/p>\n\u003cp>The litigation filed around the country is almost dizzying.\u003c/p>\n\u003cp>In California, for example, Cosby faces a lawsuit filed by Judy Huth, who says she was sexually assaulted at the Playboy Mansion around 1974 when she was 15. In a defamation case, model Janice Dickinson claims Cosby drugged and raped her in Lake Tahoe in 1982. Cosby has denied any wrongdoing.\u003c/p>\n\u003cp>In Massachusetts, Cosby faces three defamation lawsuits by nine women who say they were branded liars. His wife has been forced to give a deposition, though Cosby was granted a delay because of the criminal case.\u003c/p>\n\u003cp>“I feel like I have a great big scarlet ‘L’ painted on me,” plaintiff Kristina Ruehli, 72, of Windham, New Hampshire, told the AP. “How do you get that off?”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP Entertainment Reporter Anthony McCartney contributed to this report from Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "neal-cassady-letter-that-inspired-kerouac-to-be-auctioned-off-could-bring-600000",
"title": "Neal Cassady Letter That Inspired Kerouac to Be Auctioned Off",
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"headTitle": "Neal Cassady Letter That Inspired Kerouac to Be Auctioned Off | KQED",
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"content": "\u003cp>A 1950 Neal Cassady letter that inspired Jack Kerouac’s spontaneous style in \u003cem>On the Road\u003c/em> is heading to auction where it’s expected to bring up to $600,000.\u003cbr>\n\u003ca href=\"http://www.christies.com/features/Neal-Cassady-long-lost-letter-to-Jack-Kerouac-comes-to-auction-7393-1.aspx\" target=\"_blank\" rel=\"noopener\">Christie’s\u003c/a> is offering the 18 double-sided-page letter on June 16.\u003c/p>\n\u003cp>Known as the “Joan Anderson Letter,” it was believed lost until it surfaced in 2012 in the discarded files of the now-defunct Golden Goose Press, a San Francisco publishing house where it had been placed in a “to read” pile.\u003c/p>\n\u003cp>Cassady wrote the 16,000-word letter to Kerouac, his fellow Beat generation figure, about an amorous relationship. Only a fragment, believed to have been copied by Kerouac himself, had been published in 1964 by John Bryan in his “Notes from Underground #1.”\u003c/p>\n\u003cp>Kerouac said in an interview in 1968 that Cassady’s letter “was the greatest piece of writing I ever saw” and that it gave him the idea for the “spontaneous style” of \u003cem>On the Road\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11597935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/1463684603-cassady-letter-800x400.jpg\" alt='An excerpt of the \"Joan Anderson Letter\" written by Neal Cassady' width=\"800\" height=\"400\" class=\"size-medium wp-image-11597935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1463684603-cassady-letter-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1463684603-cassady-letter-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1463684603-cassady-letter-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1463684603-cassady-letter-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1463684603-cassady-letter.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An excerpt of the “Joan Anderson Letter” written by Neal Cassady \u003ccite>(Photo: Courtesy of Christie's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I got the idea for the spontaneous style of ‘On the Road’ from seeing how good old Neal Cassady wrote his letters to me, all first person, fast, mad, confessional, completely serious, all detailed, with real names in his case, however (being letters),” Kerouac wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cassady later admitted that he had been binging on Benzedrine when he wrote the letter.\u003c/p>\n\u003cp>In 1971, the fragment was published by City Lights as an addendum to Cassady’s book “The First Third.” It was also the basis for the 1997 film, “The Last Time I Committed Suicide,” starring Thomas Jane and Keanu Reeves.\u003c/p>\n\u003cp>Christie’s says title claims to the letter that were raised during a small California auction in 2014 — in which the letter was withdrawn — have been resolved, allowing the letter to be offered at its upcoming books and manuscripts sale. Christie’s declined to name the seller. However, the copyright on the letter lists Cassady family members.\u003c/p>\n\u003cp>The letter will tour Seattle, San Francisco, Los Angeles and New York between May 31 and June 15.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A 1950 Neal Cassady letter that inspired Jack Kerouac’s spontaneous style in \u003cem>On the Road\u003c/em> is heading to auction where it’s expected to bring up to $600,000.\u003cbr>\n\u003ca href=\"http://www.christies.com/features/Neal-Cassady-long-lost-letter-to-Jack-Kerouac-comes-to-auction-7393-1.aspx\" target=\"_blank\" rel=\"noopener\">Christie’s\u003c/a> is offering the 18 double-sided-page letter on June 16.\u003c/p>\n\u003cp>Known as the “Joan Anderson Letter,” it was believed lost until it surfaced in 2012 in the discarded files of the now-defunct Golden Goose Press, a San Francisco publishing house where it had been placed in a “to read” pile.\u003c/p>\n\u003cp>Cassady wrote the 16,000-word letter to Kerouac, his fellow Beat generation figure, about an amorous relationship. Only a fragment, believed to have been copied by Kerouac himself, had been published in 1964 by John Bryan in his “Notes from Underground #1.”\u003c/p>\n\u003cp>Kerouac said in an interview in 1968 that Cassady’s letter “was the greatest piece of writing I ever saw” and that it gave him the idea for the “spontaneous style” of \u003cem>On the Road\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11597935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/1463684603-cassady-letter-800x400.jpg\" alt='An excerpt of the \"Joan Anderson Letter\" written by Neal Cassady' width=\"800\" height=\"400\" class=\"size-medium wp-image-11597935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1463684603-cassady-letter-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1463684603-cassady-letter-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1463684603-cassady-letter-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1463684603-cassady-letter-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/1463684603-cassady-letter.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An excerpt of the “Joan Anderson Letter” written by Neal Cassady \u003ccite>(Photo: Courtesy of Christie's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I got the idea for the spontaneous style of ‘On the Road’ from seeing how good old Neal Cassady wrote his letters to me, all first person, fast, mad, confessional, completely serious, all detailed, with real names in his case, however (being letters),” Kerouac wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cassady later admitted that he had been binging on Benzedrine when he wrote the letter.\u003c/p>\n\u003cp>In 1971, the fragment was published by City Lights as an addendum to Cassady’s book “The First Third.” It was also the basis for the 1997 film, “The Last Time I Committed Suicide,” starring Thomas Jane and Keanu Reeves.\u003c/p>\n\u003cp>Christie’s says title claims to the letter that were raised during a small California auction in 2014 — in which the letter was withdrawn — have been resolved, allowing the letter to be offered at its upcoming books and manuscripts sale. Christie’s declined to name the seller. However, the copyright on the letter lists Cassady family members.\u003c/p>\n\u003cp>The letter will tour Seattle, San Francisco, Los Angeles and New York between May 31 and June 15.\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>Mark Zuckerberg on Wednesday held a wide-ranging discussion with a group of conservative commentators who said afterward the Facebook CEO acknowledged the giant social network has a problem reaching conservatives.\u003c/p>\n\u003cp>The meeting at Facebook's Menlo Park headquarters came about after a report accused the company of harboring a bias against conservative views.\u003c/p>\n\u003cp>S.E. Cupp, a columnist with the New York Daily News who attended the meeting, said Facebook executives \"were very clear to acknowledge that there is a problem and the problem is a serious one.\"\u003c/p>\n\u003cp>Cupp said Zuckerberg, Chief Operating Officer Sheryl Sandberg, Vice President Joel Kaplan and board member Peter Thiel mostly listened to the 17 conservatives who attended.\u003c/p>\n\u003cp>While the Facebook executives did not comment further on an internal investigation into allegations of political manipulation, they explained how difficult it would be for Facebook employees to inject bias into what stories make it into the \"trending topics\" section of the site or on individual users' news feeds, Cupp said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Facebook team also said any such tampering would be \"philosophically against both the mission of the company and Mark's personal mission,\" Cupp said. \"I believed them.\"\u003c/p>\n\u003cp>Rob Bluey, editor-in-chief of the website The Daily Signal, made similar comments to Fox News' Greta Van Susteren shortly after the meeting ended.\u003c/p>\n\u003cp>\"They certainly acknowledged that there was a problem with getting the message out to conservatives,\" he said.\u003c/p>\n\u003cp>Facebook spokesman Andy Stone confirmed that was the tenor of the meeting.\u003c/p>\n\u003cp>In a Facebook post afterward, Zuckerberg did not directly respond to allegations that Facebook employees suppressed conservative stories on its \"trending topics\" feature. But he said, \"I know many conservatives don't trust that our platform surfaces content without a political bias.\"\u003c/p>\n\u003cp>\"I wanted to hear their concerns personally and have an open conversation about how we can build trust. I want to do everything I can to make sure our teams uphold the integrity of our products,\" he wrote.\u003c/p>\n\u003cp>Among others in attendance, according to Facebook, were radio host Glenn Beck, American Enterprise Institute President Arthur Brooks, Tea Party Patriots CEO Jenny Beth Martin and Brent Bozell, president of the Media Research Center.\u003c/p>\n\u003cp>Bozell said in a statement afterward that the meeting was \"very productive.\"\u003c/p>\n\u003cp>\"There has been a serious issue of trust within the conservative movement about this issue, but everyone in that room, on both sides, wants to see it restored,\" he said.\u003c/p>\n\u003cp>Zuckerberg invited the group after the tech blog Gizmodo claimed that Facebook downplays conservative news subjects on its trending feature. Facebook denied the report, which relied upon a single anonymous individual with self-described conservative leanings. The company said it is investigating the matter.\u003c/p>\n\u003cp>Cupp said the viewpoints of the conservatives and the Facebook executives were aligned on issues such as data security, privacy, deregulation and free markets.\u003c/p>\n\u003cp>\"We have a lot more in common than public perception would have you believe,\" she said.\u003c/p>\n\u003cp>Facebook's trending topics are most visible on the desktop version of the social network, although it is possible to access them on mobile, too.\u003c/p>\n\u003cp>On browsers, the topics appear on the top right corner, separate from the news feed containing updates from your friends and family. On mobile devices, users can tap on the search bar to see the top trends, but they can't see separate categories.\u003c/p>\n\u003cp>Topics that appear as trending can have a self-fulfilling effect, as more Facebook readers see and share the items, and other news organizations decide to write their own stories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>AP Technology Writer Barbara Ortutay in New York contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Facebook team also said any such tampering would be \"philosophically against both the mission of the company and Mark's personal mission,\" Cupp said. \"I believed them.\"\u003c/p>\n\u003cp>Rob Bluey, editor-in-chief of the website The Daily Signal, made similar comments to Fox News' Greta Van Susteren shortly after the meeting ended.\u003c/p>\n\u003cp>\"They certainly acknowledged that there was a problem with getting the message out to conservatives,\" he said.\u003c/p>\n\u003cp>Facebook spokesman Andy Stone confirmed that was the tenor of the meeting.\u003c/p>\n\u003cp>In a Facebook post afterward, Zuckerberg did not directly respond to allegations that Facebook employees suppressed conservative stories on its \"trending topics\" feature. But he said, \"I know many conservatives don't trust that our platform surfaces content without a political bias.\"\u003c/p>\n\u003cp>\"I wanted to hear their concerns personally and have an open conversation about how we can build trust. I want to do everything I can to make sure our teams uphold the integrity of our products,\" he wrote.\u003c/p>\n\u003cp>Among others in attendance, according to Facebook, were radio host Glenn Beck, American Enterprise Institute President Arthur Brooks, Tea Party Patriots CEO Jenny Beth Martin and Brent Bozell, president of the Media Research Center.\u003c/p>\n\u003cp>Bozell said in a statement afterward that the meeting was \"very productive.\"\u003c/p>\n\u003cp>\"There has been a serious issue of trust within the conservative movement about this issue, but everyone in that room, on both sides, wants to see it restored,\" he said.\u003c/p>\n\u003cp>Zuckerberg invited the group after the tech blog Gizmodo claimed that Facebook downplays conservative news subjects on its trending feature. Facebook denied the report, which relied upon a single anonymous individual with self-described conservative leanings. The company said it is investigating the matter.\u003c/p>\n\u003cp>Cupp said the viewpoints of the conservatives and the Facebook executives were aligned on issues such as data security, privacy, deregulation and free markets.\u003c/p>\n\u003cp>\"We have a lot more in common than public perception would have you believe,\" she said.\u003c/p>\n\u003cp>Facebook's trending topics are most visible on the desktop version of the social network, although it is possible to access them on mobile, too.\u003c/p>\n\u003cp>On browsers, the topics appear on the top right corner, separate from the news feed containing updates from your friends and family. On mobile devices, users can tap on the search bar to see the top trends, but they can't see separate categories.\u003c/p>\n\u003cp>Topics that appear as trending can have a self-fulfilling effect, as more Facebook readers see and share the items, and other news organizations decide to write their own stories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>AP Technology Writer Barbara Ortutay in New York contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "alamedas-history-honored-through-a-mix-of-dance-storytelling-and-song",
"title": "Alameda's History Honored Through a Mix of Dance, Storytelling and Song",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/264794885″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>We’re at a narrow park on the Alameda side of the Oakland Estuary, with cars clanking above on the Fruitvale Bridge and boats motoring by on the water.\u003c/p>\n\u003cp>Suddenly, a man wearing a pea coat and a captain’s hat begins to speak:\u003c/p>\n\u003cfigure id=\"attachment_11594421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594421\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/015-e1463604813350-800x438.jpg\" alt=\"Ed Holmes in Rhythmix Cultural Center’s ‘Island City Waterways’ \" width=\"800\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-800x438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-400x219.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-1180x646.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-1920x1051.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-960x526.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Holmes in Rhythmix Cultural Center’s ‘Island City Waterways’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If only the mud could talk,” he says, “or the water to tell who and what have come before and who and what have stayed and left their mark.”\u003c/p>\n\u003cp>Then a troupe of eight or so dancers weave and tumble out of a thin line of trees by the bridge, as a band of musicians begins a rhythmic whistling and drumming.\u003c/p>\n\u003cfigure id=\"attachment_11594420\" class=\"wp-caption aligncenter\" style=\"max-width: 790px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594420\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/017-790x600.jpg\" alt=\"Dancers in Rhythmix Cultural Center’s ‘Island City Waterways’ \" width=\"790\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-790x600.jpg 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-400x304.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-1180x896.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-1920x1458.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-960x729.jpg 960w\" sizes=\"(max-width: 790px) 100vw, 790px\">\u003cfigcaption class=\"wp-caption-text\">Dancers in Rhythmix Cultural Center’s ‘Island City Waterways’\u003c/figcaption>\u003c/figure>\n\u003cp>They’re evoking the arrival of the Ohlone Indians to Alameda 1,400 years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is a rehearsal for\u003ca href=\"http://www.islandcitywaterways.org/\" target=\"_blank\" rel=\"noopener\">\u003cem> Island City Waterways\u003c/em>\u003c/a> put on this weekend by Alameda’s \u003ca href=\"http://www.rhythmix.org/index.php?gclid=CJru7Pi95MwCFQdbfgodxVgPBg\" target=\"_blank\" rel=\"noopener\">Rhythmix Cultural Gallery.\u003c/a> Waterways is an ambitious performance that combines site-specific dance, music, and storytelling, plus an art show that celebrates the legacy of those who immigrated to the island and helped settle the area.\u003c/p>\n\u003cp>Ed Holmes is a former San Francisco Mime Troupe member and once served at the now-closed \u003ca href=\"http://alamedapointinfo.com/\" target=\"_blank\" rel=\"noopener\">Navy base in Alameda\u003c/a>. He’s the narrator for this show, “About who are the waves of immigrants. Waves,” Holmes interrupts himself to add, “are an important metaphor in this production. The waves that have come through here since day zero.”\u003c/p>\n\u003cfigure id=\"attachment_11594422\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594422\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/001-e1463605222539-800x505.jpg\" alt=\"The now closed W.F. Stone Boat Yard on the Alameda Estuary dates back to 1853\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-1180x745.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-1920x1213.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The now closed W.F. Stone Boat Yard on the Alameda Estuary dates back to 1853 \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Island City Waterways\u003c/em> will be literally moving, because during six shows Saturday and Sunday, the dancers will parade hundreds of audience members along the waterfront from the Fruitvale to the Park Street Bridge. They’ll do the same with students from Alameda schools on Friday.\u003c/p>\n\u003cp>Choreographer Kim Epifano of \u003ca href=\"http://www.epiphanydance.org/\" target=\"_blank\" rel=\"noopener\">Epiphany Productions Sonic Dance Theater\u003c/a> hopes \u003cem>Waterways\u003c/em> will nurture pride in the city for Alamedans and visitors alike. “It’s going to be an amazing journey to take,” Epifano says, “because I don’t think many people walk along that waterfront. And then it makes you want to take care of it, it’s so extraordinary.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Island City Waterways\u003c/em> takes an upbeat view of Alameda history. It’s not about the city’s current fights over soaring home prices, development and rent control. But the show’s director, Rhythmix Cultural Center Founder Janet Koike, says audiences can share their own Alameda experiences-both good and bad. “We also have a kiosk,” she said, “for people to record their own stories of how they got here.” The video booth will be at Rhythmix for the next few months, and the recordings will eventually go to the Alameda Library for preservation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/264794885″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/264794885″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>We’re at a narrow park on the Alameda side of the Oakland Estuary, with cars clanking above on the Fruitvale Bridge and boats motoring by on the water.\u003c/p>\n\u003cp>Suddenly, a man wearing a pea coat and a captain’s hat begins to speak:\u003c/p>\n\u003cfigure id=\"attachment_11594421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594421\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/015-e1463604813350-800x438.jpg\" alt=\"Ed Holmes in Rhythmix Cultural Center’s ‘Island City Waterways’ \" width=\"800\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-800x438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-400x219.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-1180x646.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-1920x1051.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-960x526.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Holmes in Rhythmix Cultural Center’s ‘Island City Waterways’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If only the mud could talk,” he says, “or the water to tell who and what have come before and who and what have stayed and left their mark.”\u003c/p>\n\u003cp>Then a troupe of eight or so dancers weave and tumble out of a thin line of trees by the bridge, as a band of musicians begins a rhythmic whistling and drumming.\u003c/p>\n\u003cfigure id=\"attachment_11594420\" class=\"wp-caption aligncenter\" style=\"max-width: 790px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594420\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/017-790x600.jpg\" alt=\"Dancers in Rhythmix Cultural Center’s ‘Island City Waterways’ \" width=\"790\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-790x600.jpg 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-400x304.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-1180x896.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-1920x1458.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-960x729.jpg 960w\" sizes=\"(max-width: 790px) 100vw, 790px\">\u003cfigcaption class=\"wp-caption-text\">Dancers in Rhythmix Cultural Center’s ‘Island City Waterways’\u003c/figcaption>\u003c/figure>\n\u003cp>They’re evoking the arrival of the Ohlone Indians to Alameda 1,400 years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is a rehearsal for\u003ca href=\"http://www.islandcitywaterways.org/\" target=\"_blank\" rel=\"noopener\">\u003cem> Island City Waterways\u003c/em>\u003c/a> put on this weekend by Alameda’s \u003ca href=\"http://www.rhythmix.org/index.php?gclid=CJru7Pi95MwCFQdbfgodxVgPBg\" target=\"_blank\" rel=\"noopener\">Rhythmix Cultural Gallery.\u003c/a> Waterways is an ambitious performance that combines site-specific dance, music, and storytelling, plus an art show that celebrates the legacy of those who immigrated to the island and helped settle the area.\u003c/p>\n\u003cp>Ed Holmes is a former San Francisco Mime Troupe member and once served at the now-closed \u003ca href=\"http://alamedapointinfo.com/\" target=\"_blank\" rel=\"noopener\">Navy base in Alameda\u003c/a>. He’s the narrator for this show, “About who are the waves of immigrants. Waves,” Holmes interrupts himself to add, “are an important metaphor in this production. The waves that have come through here since day zero.”\u003c/p>\n\u003cfigure id=\"attachment_11594422\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594422\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/001-e1463605222539-800x505.jpg\" alt=\"The now closed W.F. Stone Boat Yard on the Alameda Estuary dates back to 1853\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-1180x745.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-1920x1213.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The now closed W.F. Stone Boat Yard on the Alameda Estuary dates back to 1853 \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Island City Waterways\u003c/em> will be literally moving, because during six shows Saturday and Sunday, the dancers will parade hundreds of audience members along the waterfront from the Fruitvale to the Park Street Bridge. They’ll do the same with students from Alameda schools on Friday.\u003c/p>\n\u003cp>Choreographer Kim Epifano of \u003ca href=\"http://www.epiphanydance.org/\" target=\"_blank\" rel=\"noopener\">Epiphany Productions Sonic Dance Theater\u003c/a> hopes \u003cem>Waterways\u003c/em> will nurture pride in the city for Alamedans and visitors alike. “It’s going to be an amazing journey to take,” Epifano says, “because I don’t think many people walk along that waterfront. And then it makes you want to take care of it, it’s so extraordinary.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Island City Waterways\u003c/em> takes an upbeat view of Alameda history. It’s not about the city’s current fights over soaring home prices, development and rent control. But the show’s director, Rhythmix Cultural Center Founder Janet Koike, says audiences can share their own Alameda experiences-both good and bad. “We also have a kiosk,” she said, “for people to record their own stories of how they got here.” The video booth will be at Rhythmix for the next few months, and the recordings will eventually go to the Alameda Library for preservation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Too Much Technology Can Spoil Your Warhol Experience",
"headTitle": "Too Much Technology Can Spoil Your Warhol Experience | KQED",
"content": "\u003cp>Looking at art is the core museum experience. I remember, when I was a kid, seeing Van Gogh’s \u003cem>Starry Night\u003c/em> for the first time. I stood for what seemed like hours, staring at the thick paint and swirling colors in a quiet gallery at the Museum of Modern Art in New York.\u003c/p>\n\u003cp>But San Francisco is not just any city. “Silicon Valley, San Francisco, is a place of innovation, and so we feel quite a strong pressure to play a role in that in the museum space,” says Keir Winesmith, head of Web and digital platforms at the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a>.\u003c/p>\n\u003cp>The museum reopened this weekend after a three-year closure \u003ca href=\"https://www.sfmoma.org/about/our-expansion-2016/\" target=\"_blank\" rel=\"noopener\">to build an addition\u003c/a>. Its expanded collection includes works by modern icons such as Andy Warhol, Mark Rothko and Richard Serra, and some new interactive technology. And like a growing number of museums, the San Francisco MOMA hopes the new tech doesn’t get in the way of looking at the art.\u003c/p>\n\u003cfigure id=\"attachment_11594426\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-1180x884.jpg\" alt=\"A photography interpretive gallery is seen next to the Sightglass coffee bar in the newly expanded San Francisco Museum of Modern Art.\" width=\"640\" height=\"479\" class=\"size-large wp-image-11594426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A photography interpretive gallery is seen next to the Sightglass coffee bar in the newly expanded San Francisco Museum of Modern Art.\u003c/figcaption>\u003c/figure>\n\u003cp>Winesmith gave me a walk-through of new technological features in this museum in the heart of downtown San Francisco. Most of the experiences are outside of the galleries — interactive touch screens to tell you more about what you just saw.\u003c/p>\n\u003cp>Within the galleries themselves, how much tech to use has been an ongoing question, Winesmith says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Most museums, especially art museums, are trying to balance this intent that they have about creating a really quiet or an engaged, almost religious commune with the art — with this real strong need to be relevant to modern audiences, to millennial audiences, to attract new audiences,” he says.\u003c/p>\n\u003cp>And Winesmith says they built an app for that. You can download it to your own phone.\u003c/p>\n\u003cp>At first it may seem like a creative take on traditional museum tours narrated by a variety of people, including one by the high-wire artist Philippe Petit.\u003c/p>\n\u003cp>The guide will tell you to turn left, or right, or go up the stairs to find a particular work of art or a collection. But it won’t start telling you about the art until you’re right in front of it, because the GPS is accurate enough to know your precise location.\u003c/p>\n\u003cp>“We described it as an eyes-up experience, a phone-in-pocket experience,” says Winesmith. “So, really, we wanted the device out of people’s hands because we want people \u003cem>not\u003c/em> playing on their devices when they’re in the museum.”\u003c/p>\n\u003cp>Other museums are more cautious about introducing digital technology into the galleries, even here in the heart of Silicon Valley.\u003c/p>\n\u003cfigure id=\"attachment_11594427\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-885x1180.jpg\" alt=\"People walk up to the entrance to the new SFMOMA.\" width=\"640\" height=\"853\" class=\"size-large wp-image-11594427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-1920x2561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-960x1280.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">People walk up to the entrance to the new SFMOMA.\u003c/figcaption>\u003c/figure>\n\u003cp>Connie Wolf, the director of the \u003ca href=\"http://museum.stanford.edu/index.html\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center at Stanford University\u003c/a>, is taking a cautious approach. “In our busy lives, in our crazy lives, we’re always connected to technology,” she says. “People want to come into museums and put that technology aside for a moment.”\u003c/p>\n\u003cp>The Cantor does hand out some very old technology: packages of colored pencils and sketching paper for students and families. “You can walk through our museum at any point and there’s some kid lying on the floor looking at a work of art and drawing,” Wolf says. “And there’s no better way to experience art than to really be active in looking.”\u003c/p>\n\u003cp>Still, she says, they don’t ban mobile devices from the galleries. People are allowed to take photos, including selfies. When they share the photos, it’s great publicity for the museum.\u003c/p>\n\u003cp>For some museums, even photography is too much.\u003c/p>\n\u003cp>Kate Levin at Bloomberg Philanthropies oversees a program that has handed out $83 million to museums — including SFMOMA — to experiment with ways that technology may help enhance the museum experience. She says some institutions have even found photography and selfies a little \u003cem>dangerous\u003c/em>.\u003c/p>\n\u003cp>“It wasn’t just that everybody trying to look at a work of art had to brave a thicket of cellphones,” says Levin, “but that to get the good shot, people were starting to back up into each other and into the furniture.”\u003c/p>\n\u003cp>As SFMOMA opens its doors to the public, Winesmith says, museum officials are nervously waiting to see what happens. In tests, people still looked down at the app.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s something about that beautiful shiny screen that’s so attractive,” Winesmith says. “People still have that phone out and are still looking down a lot more than we’d like.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Too+Much+Technology+Can+Spoil+Your+Warhol+Experience&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking at art is the core museum experience. I remember, when I was a kid, seeing Van Gogh’s \u003cem>Starry Night\u003c/em> for the first time. I stood for what seemed like hours, staring at the thick paint and swirling colors in a quiet gallery at the Museum of Modern Art in New York.\u003c/p>\n\u003cp>But San Francisco is not just any city. “Silicon Valley, San Francisco, is a place of innovation, and so we feel quite a strong pressure to play a role in that in the museum space,” says Keir Winesmith, head of Web and digital platforms at the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a>.\u003c/p>\n\u003cp>The museum reopened this weekend after a three-year closure \u003ca href=\"https://www.sfmoma.org/about/our-expansion-2016/\" target=\"_blank\" rel=\"noopener\">to build an addition\u003c/a>. Its expanded collection includes works by modern icons such as Andy Warhol, Mark Rothko and Richard Serra, and some new interactive technology. And like a growing number of museums, the San Francisco MOMA hopes the new tech doesn’t get in the way of looking at the art.\u003c/p>\n\u003cfigure id=\"attachment_11594426\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-1180x884.jpg\" alt=\"A photography interpretive gallery is seen next to the Sightglass coffee bar in the newly expanded San Francisco Museum of Modern Art.\" width=\"640\" height=\"479\" class=\"size-large wp-image-11594426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ap_16135710180659-6c2b3af5abd2df36f8b8ee2123bef54c16316b64-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A photography interpretive gallery is seen next to the Sightglass coffee bar in the newly expanded San Francisco Museum of Modern Art.\u003c/figcaption>\u003c/figure>\n\u003cp>Winesmith gave me a walk-through of new technological features in this museum in the heart of downtown San Francisco. Most of the experiences are outside of the galleries — interactive touch screens to tell you more about what you just saw.\u003c/p>\n\u003cp>Within the galleries themselves, how much tech to use has been an ongoing question, Winesmith says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Most museums, especially art museums, are trying to balance this intent that they have about creating a really quiet or an engaged, almost religious commune with the art — with this real strong need to be relevant to modern audiences, to millennial audiences, to attract new audiences,” he says.\u003c/p>\n\u003cp>And Winesmith says they built an app for that. You can download it to your own phone.\u003c/p>\n\u003cp>At first it may seem like a creative take on traditional museum tours narrated by a variety of people, including one by the high-wire artist Philippe Petit.\u003c/p>\n\u003cp>The guide will tell you to turn left, or right, or go up the stairs to find a particular work of art or a collection. But it won’t start telling you about the art until you’re right in front of it, because the GPS is accurate enough to know your precise location.\u003c/p>\n\u003cp>“We described it as an eyes-up experience, a phone-in-pocket experience,” says Winesmith. “So, really, we wanted the device out of people’s hands because we want people \u003cem>not\u003c/em> playing on their devices when they’re in the museum.”\u003c/p>\n\u003cp>Other museums are more cautious about introducing digital technology into the galleries, even here in the heart of Silicon Valley.\u003c/p>\n\u003cfigure id=\"attachment_11594427\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-885x1180.jpg\" alt=\"People walk up to the entrance to the new SFMOMA.\" width=\"640\" height=\"853\" class=\"size-large wp-image-11594427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-1920x2561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/img_3119-2_vert-07c59693f834f226f88d8c1ee3e8128d5ddef6eb-960x1280.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">People walk up to the entrance to the new SFMOMA.\u003c/figcaption>\u003c/figure>\n\u003cp>Connie Wolf, the director of the \u003ca href=\"http://museum.stanford.edu/index.html\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center at Stanford University\u003c/a>, is taking a cautious approach. “In our busy lives, in our crazy lives, we’re always connected to technology,” she says. “People want to come into museums and put that technology aside for a moment.”\u003c/p>\n\u003cp>The Cantor does hand out some very old technology: packages of colored pencils and sketching paper for students and families. “You can walk through our museum at any point and there’s some kid lying on the floor looking at a work of art and drawing,” Wolf says. “And there’s no better way to experience art than to really be active in looking.”\u003c/p>\n\u003cp>Still, she says, they don’t ban mobile devices from the galleries. People are allowed to take photos, including selfies. When they share the photos, it’s great publicity for the museum.\u003c/p>\n\u003cp>For some museums, even photography is too much.\u003c/p>\n\u003cp>Kate Levin at Bloomberg Philanthropies oversees a program that has handed out $83 million to museums — including SFMOMA — to experiment with ways that technology may help enhance the museum experience. She says some institutions have even found photography and selfies a little \u003cem>dangerous\u003c/em>.\u003c/p>\n\u003cp>“It wasn’t just that everybody trying to look at a work of art had to brave a thicket of cellphones,” says Levin, “but that to get the good shot, people were starting to back up into each other and into the furniture.”\u003c/p>\n\u003cp>As SFMOMA opens its doors to the public, Winesmith says, museum officials are nervously waiting to see what happens. In tests, people still looked down at the app.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s something about that beautiful shiny screen that’s so attractive,” Winesmith says. “People still have that phone out and are still looking down a lot more than we’d like.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Too+Much+Technology+Can+Spoil+Your+Warhol+Experience&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Suburban Chicago police say they found Irish singer-songwriter Sinead O’Connor after she went missing earlier this week staying at a hotel.\u003c/p>\n\u003cp>Wilmette police spokesman Eric Peterson said Tuesday that 10 departments helped canvass area hotels. He said finding O’Connor safe Monday afternoon was “a wonderful outcome.”\u003c/p>\n\u003cp>He declined to provide other details, including about where exactly O’Connor was found, her condition or where she is now.\u003c/p>\n\u003cp>A rambling message posted Monday evening on O’Connor’s \u003ca href=\"https://www.facebook.com/sineadoconnor/posts/1104773712894949\" target=\"_blank\" rel=\"noopener\">official Facebook page\u003c/a> referred to emotional trauma she had been through over the years.\u003c/p>\n\u003cp>https://www.facebook.com/sineadoconnor/posts/1104773712894949\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>O’Connor scored an international hit in 1990 with her rendition of Prince’s ballad “Nothing Compares 2 U.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Suburban Chicago police say they found Irish singer-songwriter Sinead O’Connor after she went missing earlier this week staying at a hotel.\u003c/p>\n\u003cp>Wilmette police spokesman Eric Peterson said Tuesday that 10 departments helped canvass area hotels. He said finding O’Connor safe Monday afternoon was “a wonderful outcome.”\u003c/p>\n\u003cp>He declined to provide other details, including about where exactly O’Connor was found, her condition or where she is now.\u003c/p>\n\u003cp>A rambling message posted Monday evening on O’Connor’s \u003ca href=\"https://www.facebook.com/sineadoconnor/posts/1104773712894949\" target=\"_blank\" rel=\"noopener\">official Facebook page\u003c/a> referred to emotional trauma she had been through over the years.\u003c/p>\n\u003cp>https://www.facebook.com/sineadoconnor/posts/1104773712894949\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On Monday, the San Francisco’s \u003ca href=\"http://womenscommunityclinic.org/\" target=\"_blank\" rel=\"noopener\">Women’s Community Clinic\u003c/a> called and told me the news: Lizz Winstead is bringing us pizza tomorrow. \u003c/p>\n\u003cp>A co-creator of \u003cem>the Daily Show\u003c/em>, co-founder of Air America radio, and an unstoppable feminist joke machine, Winstead often drops by reproductive healthcare clinics with treats. She brings them, she says, because everyone she knows has been to a clinic at some point in their lives, and because the people who work in reproductive healthcare can get lonely. \u003c/p>\n\u003cp>It’s just one part of her latest project, \u003ca href=\"http://www.ladypartsjustice.com/\" target=\"_blank\" rel=\"noopener\">Lady Parts Justice,\u003c/a> which uses comedy and information to battle anti-choice legislation. Willing to support clinics however she can, sometimes Winstead brings the workers a comedy show, but she can also bring breakfast, “or take them out for drinks, or we’re going to Fort Worth Texas, to build a fence in August,” she told me over the phone last week. “We’re part Amy Schumer show, part USO, part Habitat for Humanity.” \u003c/p>\n\u003cp>She wasn’t kidding. When we talked, Winstead was calling from Louisville, where she had done a show the night before with the Lady Parts Justice team, a rotating group of pro-choice feminist comics that perform across the U.S. It’s just \u003ca href=\"http://www.ladypartsjustice.com/events/\" target=\"_blank\" rel=\"noopener\">one of many ways \u003c/a>Winstead and crew draw attention to potential threats to reproductive rights. \u003c/p>\n\u003cp>In the end, I wasn’t able to go to the clinic and eat any of Winstead’s pizza. But as we talked on the phone, I realized I was treated to a feminist stand-up show for one. \u003c/p>\n\u003cfigure id=\"attachment_11588340\" 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/LizzWinstead3.jpg\" alt='(L-R) Jim Colucci, Lizz Winstead and Frank DeCaro at the wedding of Frank DeCaro and Jim Colucci live on air of \"The Frank DeCaro Show\" ' width=\"800\" height=\"450\" class=\"size-full wp-image-11588340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LizzWinstead3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LizzWinstead3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LizzWinstead3-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Jim Colucci, Lizz Winstead and Frank DeCaro at the wedding of Frank DeCaro and Jim Colucci live on air of “The Frank DeCaro Show” \u003ccite>(Photo: Neilson Barnard/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With \u003cem>the Daily Show,\u003c/em> and since 2012, with Lady Parts Justice, you’ve made a habit of taking on subject matter usually addressed by activists. Can you explain how you write about issues you yourself are passionately opinionated about, but at the same time maintain a level head so you can figure out where the funny is? \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’ve always poked my little stick at the seamy underbelly of things that I’ve found either hypocritical or oppressive. You can really find humor when you figure out where your targets are, and then figure out the lies, manipulation, and hypocrisy. When you stark poking around, you’ll always see that the purpose of what they’re doing is so that the power structure that exists can remain the power structure, whether that is banking, whether that is undocumented workers, whether that is Black Lives Matter, whether that’s reproductive rights issues. It’s always the case: “How can we make sure that people remain vulnerable?” So our job is to blow the lid off of that, and laugh at their ridiculous reasoning. For example, when you tell women that to have less clinics is better healthcare, that’s just a laughable base of operations to start from. People will become homicidal if their app doesn’t download fast enough, yet you make a woman wait for a health care decision anywhere between 24 and 72 hours because you’re just sure she hasn’t thought about it enough? There are so many things I could say, but I’ll start with that. \u003c/p>\n\u003cp>\u003cstrong>Reproductive rights is a complicated area for comedy. How do you come at it ethically? What do you worry about? \u003c/strong>\u003c/p>\n\u003cp>“Complicated.” “Ethically.” I feel like those are words the right has engrained into us to say. I follow the science and the necessity of what abortion means: There’s simply nothing unethical about needing to terminate a pregnancy, but the language has been highjacked by right-wing extremists for the last 40 years. Allowing them to talk about babies, allowing them to say the word mother, when the person just simply doesn’t want to be pregnant anymore. I have no moral or ethical problem with talking about abortion or having abortion be part of a comedy routine, because I don’t buy into, nor will I promote, any kind of untrue facts about why people need abortion, what abortion actually is, or what pregnancy actually is. When you have someone saying you can’t have an abortion in the first 72 hours of a sperm hitting an egg, when it’s not even a pregnancy? There is no moral or ethical reason I shouldn’t make as much fun of that person as possible. \u003c/p>\n\u003cfigure id=\"attachment_11591660\" 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/Lizz-Winstead-4.jpg\" alt=\"Lizz Winstead speaks to a guest during the PFLAG National Straight For Equality Awards \" width=\"800\" height=\"532\" class=\"size-full wp-image-11591660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lizz-Winstead-4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lizz-Winstead-4-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lizz-Winstead-4-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Winstead speaks to a guest during the PFLAG National Straight For Equality Awards \u003ccite>(Photo: D Dipasupil/Getty Images for PFLAG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some people see what they’re calling a “new wave” of comedy that talks about reproductive rights. They point to comics like Samantha Bee and John Oliver. Do you see yourself as part of a new wave, or more as part of a longer tradition? \u003c/strong>\u003c/p>\n\u003cp>I’ve been doing this a really long time. I just did a show recently and someone brought a flyer from 1992 of a fundraiser that I did for an abortion-rights advocacy group in Minnesota. So I’m glad that people are understanding what’s at stake, and Samantha Bee and John Oliver and Amy Schumer and Sarah Sliverman are paving the way, because they’re being smart about exposing a lot of the things people don’t know about when it comes to this issue. Like in 1992, there was Casey v. Planned Parenthood — the criteria was that you can curb abortion access if you don’t cause an “undue burden,” but nobody defined what that burden was.\u003c/p>\n\u003cp>\u003cstrong>In a recent BBC online article about abortion rates worldwide, which suggests that rate is a steady 25 percent of all pregnancies regardless of the legal status of termination, Dr. Bela Ganatra of the World Health Organization said “The high rates of abortion seen in our study provide further evidence of the need to improve and expand access to effective contraceptive services.” \u003c/strong>\u003c/p>\n\u003cp>Yeah, and the problem is, we live in a country where they’re telling us they want to reduce the number of abortions and the way they want to do that is to remove access to the places that provide affordable contraception. I don’t know why people like that are even listened to and not laughed off the planet. We don’t live in some world where there’s abstinence and unicorns. People have sex, unintended pregnancies happen, people don’t want to be parents or can’t have more kids. And some people would be shitty at it and know that about themselves. I’m one of those people. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/LizzWinstead2.jpg\" alt=\"Frank DeCaro Gets Married On SiriusXM's "The Frank DeCaro Show"\" width=\"800\" height=\"534\" class=\"aligncenter size-full wp-image-11588341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LizzWinstead2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LizzWinstead2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LizzWinstead2-768x513.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>What is the thing with people who oppose contraceptives? I’m from San Francisco so I’m baffled by that. \u003c/strong>\u003c/p>\n\u003cp>That’s really where this story always goes. It gets out of abortion very quickly, and goes to the whole: “Sex is for procreation, contraception encourages sex not for procreation, it goes against God’s plan, I believe in God’s plan, and America was based on God’s plan.” It’s like “Whoa, whoa, and WHOA.” \u003c/p>\n\u003cp>\u003cstrong>You told \u003cem>Time\u003c/em> magazine you plan “to encourage people to incorporate a little bit of activism into their social lives, and so it becomes something that you do like your yoga practice” Do you think we could maybe just get people to totally replace their yoga practice with activism? \u003c/strong>\u003c/p>\n\u003cp>I just think that — first of all, that’s really funny. But our philosophy is to bring the information into places where people are already gathered; I don’t try to lure people into my world. There are buzzwords, like the word activist, people hate that word. But we live in a world where our art, everything, our conversations, our films, evolved around thinking about sex, trying to have sex, having sex, thinking about when you’re going to have sex again, and then eating. Right? We live in a sexual society, and you might not have anything in common with me, but we all like sex. And we know that. And if you make someone laugh, they like you. And if they like you, more often than not they’re willing to listen to what you have to say. \u003c/p>\n\u003cp>\u003cstrong>There must be a lot of competition from all the pro-life comedy out there. \u003c/strong>\u003c/p>\n\u003cp>You know what, that’s the hardest thing. They’re everywhere. Everywhere you turn, there’s another person on the anti-choice comedy tour. But no, there’s no one out there doing what we’re doing from the other side. I don’t think. Pass them along to me, I’d love to know. \u003c/p>\n\u003cp>\u003cstrong>Where can people find your work if they can’t catch you at the Women’s Community Clinic benefit?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Look at our videos on \u003ca href=\"http://www.ladypartsjustice.com/videos/\" target=\"_blank\" rel=\"noopener\">Lady Parts Justice\u003c/a>, and sign up to find out about \u003ca href=\"http://www.ladypartsjustice.com/v-to-shining-v/\" target=\"_blank\" rel=\"noopener\">V to Shining V\u003c/a>. This year it’s going to be a big awards show called the Golden Probes; we’re doing a livestream out of New York honoring outstanding achievements in sexism. We’re going to get somebody from every state, we have dance numbers, we have comedians, it’s going to be really fun.\u003cbr>\n____\u003cbr>\n\u003cem>\u003cbr>\nLizz Winstead performs May 19 at the Jewish Community Center of San Francisco. Tickets are $125 (though they are currently sold out.) For tickets, time, and more information, visit the \u003ca href=\"http://womenscommunityclinic.org/2016/02/hysteria2016/?\" target=\"_blank\" rel=\"noopener\">clinic’s website\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday, the San Francisco’s \u003ca href=\"http://womenscommunityclinic.org/\" target=\"_blank\" rel=\"noopener\">Women’s Community Clinic\u003c/a> called and told me the news: Lizz Winstead is bringing us pizza tomorrow. \u003c/p>\n\u003cp>A co-creator of \u003cem>the Daily Show\u003c/em>, co-founder of Air America radio, and an unstoppable feminist joke machine, Winstead often drops by reproductive healthcare clinics with treats. She brings them, she says, because everyone she knows has been to a clinic at some point in their lives, and because the people who work in reproductive healthcare can get lonely. \u003c/p>\n\u003cp>It’s just one part of her latest project, \u003ca href=\"http://www.ladypartsjustice.com/\" target=\"_blank\" rel=\"noopener\">Lady Parts Justice,\u003c/a> which uses comedy and information to battle anti-choice legislation. Willing to support clinics however she can, sometimes Winstead brings the workers a comedy show, but she can also bring breakfast, “or take them out for drinks, or we’re going to Fort Worth Texas, to build a fence in August,” she told me over the phone last week. “We’re part Amy Schumer show, part USO, part Habitat for Humanity.” \u003c/p>\n\u003cp>She wasn’t kidding. When we talked, Winstead was calling from Louisville, where she had done a show the night before with the Lady Parts Justice team, a rotating group of pro-choice feminist comics that perform across the U.S. It’s just \u003ca href=\"http://www.ladypartsjustice.com/events/\" target=\"_blank\" rel=\"noopener\">one of many ways \u003c/a>Winstead and crew draw attention to potential threats to reproductive rights. \u003c/p>\n\u003cp>In the end, I wasn’t able to go to the clinic and eat any of Winstead’s pizza. But as we talked on the phone, I realized I was treated to a feminist stand-up show for one. \u003c/p>\n\u003cfigure id=\"attachment_11588340\" 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/LizzWinstead3.jpg\" alt='(L-R) Jim Colucci, Lizz Winstead and Frank DeCaro at the wedding of Frank DeCaro and Jim Colucci live on air of \"The Frank DeCaro Show\" ' width=\"800\" height=\"450\" class=\"size-full wp-image-11588340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LizzWinstead3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LizzWinstead3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LizzWinstead3-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Jim Colucci, Lizz Winstead and Frank DeCaro at the wedding of Frank DeCaro and Jim Colucci live on air of “The Frank DeCaro Show” \u003ccite>(Photo: Neilson Barnard/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With \u003cem>the Daily Show,\u003c/em> and since 2012, with Lady Parts Justice, you’ve made a habit of taking on subject matter usually addressed by activists. Can you explain how you write about issues you yourself are passionately opinionated about, but at the same time maintain a level head so you can figure out where the funny is? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ve always poked my little stick at the seamy underbelly of things that I’ve found either hypocritical or oppressive. You can really find humor when you figure out where your targets are, and then figure out the lies, manipulation, and hypocrisy. When you stark poking around, you’ll always see that the purpose of what they’re doing is so that the power structure that exists can remain the power structure, whether that is banking, whether that is undocumented workers, whether that is Black Lives Matter, whether that’s reproductive rights issues. It’s always the case: “How can we make sure that people remain vulnerable?” So our job is to blow the lid off of that, and laugh at their ridiculous reasoning. For example, when you tell women that to have less clinics is better healthcare, that’s just a laughable base of operations to start from. People will become homicidal if their app doesn’t download fast enough, yet you make a woman wait for a health care decision anywhere between 24 and 72 hours because you’re just sure she hasn’t thought about it enough? There are so many things I could say, but I’ll start with that. \u003c/p>\n\u003cp>\u003cstrong>Reproductive rights is a complicated area for comedy. How do you come at it ethically? What do you worry about? \u003c/strong>\u003c/p>\n\u003cp>“Complicated.” “Ethically.” I feel like those are words the right has engrained into us to say. I follow the science and the necessity of what abortion means: There’s simply nothing unethical about needing to terminate a pregnancy, but the language has been highjacked by right-wing extremists for the last 40 years. Allowing them to talk about babies, allowing them to say the word mother, when the person just simply doesn’t want to be pregnant anymore. I have no moral or ethical problem with talking about abortion or having abortion be part of a comedy routine, because I don’t buy into, nor will I promote, any kind of untrue facts about why people need abortion, what abortion actually is, or what pregnancy actually is. When you have someone saying you can’t have an abortion in the first 72 hours of a sperm hitting an egg, when it’s not even a pregnancy? There is no moral or ethical reason I shouldn’t make as much fun of that person as possible. \u003c/p>\n\u003cfigure id=\"attachment_11591660\" 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/Lizz-Winstead-4.jpg\" alt=\"Lizz Winstead speaks to a guest during the PFLAG National Straight For Equality Awards \" width=\"800\" height=\"532\" class=\"size-full wp-image-11591660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lizz-Winstead-4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lizz-Winstead-4-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lizz-Winstead-4-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Winstead speaks to a guest during the PFLAG National Straight For Equality Awards \u003ccite>(Photo: D Dipasupil/Getty Images for PFLAG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some people see what they’re calling a “new wave” of comedy that talks about reproductive rights. They point to comics like Samantha Bee and John Oliver. Do you see yourself as part of a new wave, or more as part of a longer tradition? \u003c/strong>\u003c/p>\n\u003cp>I’ve been doing this a really long time. I just did a show recently and someone brought a flyer from 1992 of a fundraiser that I did for an abortion-rights advocacy group in Minnesota. So I’m glad that people are understanding what’s at stake, and Samantha Bee and John Oliver and Amy Schumer and Sarah Sliverman are paving the way, because they’re being smart about exposing a lot of the things people don’t know about when it comes to this issue. Like in 1992, there was Casey v. Planned Parenthood — the criteria was that you can curb abortion access if you don’t cause an “undue burden,” but nobody defined what that burden was.\u003c/p>\n\u003cp>\u003cstrong>In a recent BBC online article about abortion rates worldwide, which suggests that rate is a steady 25 percent of all pregnancies regardless of the legal status of termination, Dr. Bela Ganatra of the World Health Organization said “The high rates of abortion seen in our study provide further evidence of the need to improve and expand access to effective contraceptive services.” \u003c/strong>\u003c/p>\n\u003cp>Yeah, and the problem is, we live in a country where they’re telling us they want to reduce the number of abortions and the way they want to do that is to remove access to the places that provide affordable contraception. I don’t know why people like that are even listened to and not laughed off the planet. We don’t live in some world where there’s abstinence and unicorns. People have sex, unintended pregnancies happen, people don’t want to be parents or can’t have more kids. And some people would be shitty at it and know that about themselves. I’m one of those people. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/LizzWinstead2.jpg\" alt=\"Frank DeCaro Gets Married On SiriusXM's "The Frank DeCaro Show"\" width=\"800\" height=\"534\" class=\"aligncenter size-full wp-image-11588341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LizzWinstead2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LizzWinstead2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/LizzWinstead2-768x513.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>What is the thing with people who oppose contraceptives? I’m from San Francisco so I’m baffled by that. \u003c/strong>\u003c/p>\n\u003cp>That’s really where this story always goes. It gets out of abortion very quickly, and goes to the whole: “Sex is for procreation, contraception encourages sex not for procreation, it goes against God’s plan, I believe in God’s plan, and America was based on God’s plan.” It’s like “Whoa, whoa, and WHOA.” \u003c/p>\n\u003cp>\u003cstrong>You told \u003cem>Time\u003c/em> magazine you plan “to encourage people to incorporate a little bit of activism into their social lives, and so it becomes something that you do like your yoga practice” Do you think we could maybe just get people to totally replace their yoga practice with activism? \u003c/strong>\u003c/p>\n\u003cp>I just think that — first of all, that’s really funny. But our philosophy is to bring the information into places where people are already gathered; I don’t try to lure people into my world. There are buzzwords, like the word activist, people hate that word. But we live in a world where our art, everything, our conversations, our films, evolved around thinking about sex, trying to have sex, having sex, thinking about when you’re going to have sex again, and then eating. Right? We live in a sexual society, and you might not have anything in common with me, but we all like sex. And we know that. And if you make someone laugh, they like you. And if they like you, more often than not they’re willing to listen to what you have to say. \u003c/p>\n\u003cp>\u003cstrong>There must be a lot of competition from all the pro-life comedy out there. \u003c/strong>\u003c/p>\n\u003cp>You know what, that’s the hardest thing. They’re everywhere. Everywhere you turn, there’s another person on the anti-choice comedy tour. But no, there’s no one out there doing what we’re doing from the other side. I don’t think. Pass them along to me, I’d love to know. \u003c/p>\n\u003cp>\u003cstrong>Where can people find your work if they can’t catch you at the Women’s Community Clinic benefit?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Look at our videos on \u003ca href=\"http://www.ladypartsjustice.com/videos/\" target=\"_blank\" rel=\"noopener\">Lady Parts Justice\u003c/a>, and sign up to find out about \u003ca href=\"http://www.ladypartsjustice.com/v-to-shining-v/\" target=\"_blank\" rel=\"noopener\">V to Shining V\u003c/a>. This year it’s going to be a big awards show called the Golden Probes; we’re doing a livestream out of New York honoring outstanding achievements in sexism. We’re going to get somebody from every state, we have dance numbers, we have comedians, it’s going to be really fun.\u003cbr>\n____\u003cbr>\n\u003cem>\u003cbr>\nLizz Winstead performs May 19 at the Jewish Community Center of San Francisco. Tickets are $125 (though they are currently sold out.) For tickets, time, and more information, visit the \u003ca href=\"http://womenscommunityclinic.org/2016/02/hysteria2016/?\" target=\"_blank\" rel=\"noopener\">clinic’s website\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Texas singer-songwriter Guy Clark, who helped mentor a generation of songwriters and wrote hits like “L.A. Freeway” and “Desperados Waiting for a Train,” has died. He was 74.\u003c/p>\n\u003cp>Clark died Tuesday at his home in Nashville, Tennessee, according to his manager, Keith Case. He’d been in poor health, although Case didn’t give an official cause of death.\u003c/p>\n\u003cp>A native of Monahans, Texas, Clark belonged to a group of highly influential Texas songwriters that included Townes Van Zandt and Mickey Newbury. Together with his painter-songwriter wife, Susanna, Clark’s home in Nashville became a gathering place for artists like Rodney Crowell and Steve Earle. He wrote songs for Johnny Cash, Ricky Skaggs, Jerry Jeff Walker, Bobby Bare, Vince Gill and John Conlee.\u003c/p>\n\u003cp>Born in 1941, Clark’s upbringing in west Texas inspired the scenes and characters for many of his songs, including “Desperados,” based on an oil well digger who once stayed at his grandmother’s shotgun hotel. His interest in music was inspired by his father’s law partner, and most of the first songs he learned to sing and play were in Spanish.\u003c/p>\n\u003cp>He moved to Houston in the 1960s, where he met Van Zandt and several other folk songwriters and played in coffee shops and bars. He married his first wife, Susan Spaw, and they had a son, Travis, in 1966. After his split with Susan, he met painter Susanna Talley and they moved to Los Angeles to pursue his music career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His dissatisfaction with the city’s hectic lifestyle was the basis of his song “L.A. Freeway,” which was recorded by Walker on his debut album. He and Susanna moved to Nashville in 1971, where his success as a songwriter led to a recording contract with RCA, and he released his first album, “Old No. 1,” in 1975. The album included songs like “She Ain’t Going Nowhere” and “Texas 1947,” which Cash also recorded.\u003c/p>\n\u003cp>“The only songs I have gotten cut were the ones I wrote for myself to sing,” Clark said in an interview with The Associated Press in 2013. “And I didn’t even think about the radio. Or think about other artists doing them. So I just quit wasting my time thinking about it. Because the best work always comes from writing for yourself and writing stuff you know about, rather than, ‘What would George Jones like?’ or ‘What would George Strait like?'”\u003c/p>\n\u003cp>His home was a Bohemian artistic enclave, with paintings on the wall and stacked in every corner, hundreds of tapes of recordings and a workshop where he made dobros and guitars. He was close friends with many of Nashville’s talented musicians, including Steve Earle, Emmylou Harris, Lyle Lovett and Shawn Camp.\u003c/p>\n\u003cp>“He was the best self-editor that I have ever known … and it was one of the first gifts of generosity he gave me,” said Crowell, who wrote many songs with Clark, including his hit, “She’s Crazy for Leavin'” and “Stuff That Works.”\u003c/p>\n\u003cp>“It’s almost like his music was embedded in the land,” said fellow Texan Sarah Jarosz, a Grammy-nominated singer-songwriter and mandolin player. “The songs, with their depth, soul and simplicity were an important part of life for so many. As a young songwriter, I continue to find great inspiration from his music — a never ending journey and discovery of masterful songwriting. He touched countless lives with the gift of song, and the world is a much better place having had him in it.”\u003c/p>\n\u003cp>His songs were very detailed, literary and full of imagery, such as “The Randall Knife,” about the knife his father carried with him through World War II. A tribute album to Clark, “This One’s for Him,” which featured recordings by Rosanne Cash, Willie Nelson, Kris Kristofferson and John Prine, won album of the year at the Americana Music Association’s Honors and Awards in 2012.\u003c/p>\n\u003cp>Clark received the Poet’s Award from the Academy of Country Music in 2012. He was inducted into the Nashville Songwriter’s Hall of Fame in 2004.\u003c/p>\n\u003cp>“I am glad that I raised the bar to some extent, if in fact I did, but, I mean, you can’t live on that every day,” Clark said in 2013. “You have to reinvent yourself the next day. You have to write as good and continue to do so. And that gets harder.”\u003c/p>\n\u003cp>He recorded several albums, and although he never achieved the same success as a performer, but he was beloved in the folk and Americana musical community. His final album, “My Favorite Picture of You,” won a Grammy in 2014 for best folk album. The title song was inspired by his wife, who died in 2012 and who is featured on the album’s cover. The picture shows a frustrated Susanna, her arms crossed and a glare on her face.\u003c/p>\n\u003cp>“Townes (Van Zandt) and I were in that house that she is in front of and we were drunk, drunk, just obnoxiously drunk,” Clark said during a 2013 interview with the AP. “And she had just had enough.”\u003c/p>\n\u003cp>He is survived by his son Travis and daughter-in-law Krista McMurtry Clark; grandchildren Dylan and Ellie Clark; sisters Caroline Clark Dugan and Jan Clark. Funeral arrangements are pending.\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>Texas singer-songwriter Guy Clark, who helped mentor a generation of songwriters and wrote hits like “L.A. Freeway” and “Desperados Waiting for a Train,” has died. He was 74.\u003c/p>\n\u003cp>Clark died Tuesday at his home in Nashville, Tennessee, according to his manager, Keith Case. He’d been in poor health, although Case didn’t give an official cause of death.\u003c/p>\n\u003cp>A native of Monahans, Texas, Clark belonged to a group of highly influential Texas songwriters that included Townes Van Zandt and Mickey Newbury. Together with his painter-songwriter wife, Susanna, Clark’s home in Nashville became a gathering place for artists like Rodney Crowell and Steve Earle. He wrote songs for Johnny Cash, Ricky Skaggs, Jerry Jeff Walker, Bobby Bare, Vince Gill and John Conlee.\u003c/p>\n\u003cp>Born in 1941, Clark’s upbringing in west Texas inspired the scenes and characters for many of his songs, including “Desperados,” based on an oil well digger who once stayed at his grandmother’s shotgun hotel. His interest in music was inspired by his father’s law partner, and most of the first songs he learned to sing and play were in Spanish.\u003c/p>\n\u003cp>He moved to Houston in the 1960s, where he met Van Zandt and several other folk songwriters and played in coffee shops and bars. He married his first wife, Susan Spaw, and they had a son, Travis, in 1966. After his split with Susan, he met painter Susanna Talley and they moved to Los Angeles to pursue his music career.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His dissatisfaction with the city’s hectic lifestyle was the basis of his song “L.A. Freeway,” which was recorded by Walker on his debut album. He and Susanna moved to Nashville in 1971, where his success as a songwriter led to a recording contract with RCA, and he released his first album, “Old No. 1,” in 1975. The album included songs like “She Ain’t Going Nowhere” and “Texas 1947,” which Cash also recorded.\u003c/p>\n\u003cp>“The only songs I have gotten cut were the ones I wrote for myself to sing,” Clark said in an interview with The Associated Press in 2013. “And I didn’t even think about the radio. Or think about other artists doing them. So I just quit wasting my time thinking about it. Because the best work always comes from writing for yourself and writing stuff you know about, rather than, ‘What would George Jones like?’ or ‘What would George Strait like?'”\u003c/p>\n\u003cp>His home was a Bohemian artistic enclave, with paintings on the wall and stacked in every corner, hundreds of tapes of recordings and a workshop where he made dobros and guitars. He was close friends with many of Nashville’s talented musicians, including Steve Earle, Emmylou Harris, Lyle Lovett and Shawn Camp.\u003c/p>\n\u003cp>“He was the best self-editor that I have ever known … and it was one of the first gifts of generosity he gave me,” said Crowell, who wrote many songs with Clark, including his hit, “She’s Crazy for Leavin'” and “Stuff That Works.”\u003c/p>\n\u003cp>“It’s almost like his music was embedded in the land,” said fellow Texan Sarah Jarosz, a Grammy-nominated singer-songwriter and mandolin player. “The songs, with their depth, soul and simplicity were an important part of life for so many. As a young songwriter, I continue to find great inspiration from his music — a never ending journey and discovery of masterful songwriting. He touched countless lives with the gift of song, and the world is a much better place having had him in it.”\u003c/p>\n\u003cp>His songs were very detailed, literary and full of imagery, such as “The Randall Knife,” about the knife his father carried with him through World War II. A tribute album to Clark, “This One’s for Him,” which featured recordings by Rosanne Cash, Willie Nelson, Kris Kristofferson and John Prine, won album of the year at the Americana Music Association’s Honors and Awards in 2012.\u003c/p>\n\u003cp>Clark received the Poet’s Award from the Academy of Country Music in 2012. He was inducted into the Nashville Songwriter’s Hall of Fame in 2004.\u003c/p>\n\u003cp>“I am glad that I raised the bar to some extent, if in fact I did, but, I mean, you can’t live on that every day,” Clark said in 2013. “You have to reinvent yourself the next day. You have to write as good and continue to do so. And that gets harder.”\u003c/p>\n\u003cp>He recorded several albums, and although he never achieved the same success as a performer, but he was beloved in the folk and Americana musical community. His final album, “My Favorite Picture of You,” won a Grammy in 2014 for best folk album. The title song was inspired by his wife, who died in 2012 and who is featured on the album’s cover. The picture shows a frustrated Susanna, her arms crossed and a glare on her face.\u003c/p>\n\u003cp>“Townes (Van Zandt) and I were in that house that she is in front of and we were drunk, drunk, just obnoxiously drunk,” Clark said during a 2013 interview with the AP. “And she had just had enough.”\u003c/p>\n\u003cp>He is survived by his son Travis and daughter-in-law Krista McMurtry Clark; grandchildren Dylan and Ellie Clark; sisters Caroline Clark Dugan and Jan Clark. Funeral arrangements are pending.\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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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "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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