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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comcast is buying DreamWorks Animation, the film company behind the \u003cem>Shrek\u003c/em>, \u003cem>Madagascar\u003c/em> and \u003cem>Kung Fu Panda\u003c/em> franchises, for approximately $3.55 billion, strengthening its presence in the important and growing business of children’s entertainment.\u003c/p>\n\u003cp>DreamWorks stockholders will receive $41 for each share they own. That’s a 24 percent premium to the company’s Wednesday closing price of $32.20. The companies put the deal’s value at about $3.8 billion.\u003c/p>\n\u003cp>DreamWorks will become part of the Universal Filmed Entertainment Group, which includes Universal Pictures. The studio has churned out hit animated movies through its Illumination label, including the \u003cem>Minions \u003c/em>sequel and it has some Dr. Seuss projects in the works such as \u003cem>How the Grinch Stole Christmas\u003c/em>.\u003c/p>\n\u003cp>The nation’s largest cable company said the deal gives NBCUniversal, a unit of Comcast Corp., a “broader reach to a host of new audiences in the highly competitive kids and family entertainment space, in both TV and film.” In addition to the cartoon franchises, DreamWorks also owns what Comcast called a “thriving TV operation” with its AwesomenessTV network of online video creators and a lengthy contract to create shows for Netflix.\u003c/p>\n\u003cp>The deal solves what Cowen and Co. analyst Doug Creutz “would have been a very difficult succession plan had DWA remained independent, as to a certain extent we think the company had been held together purely through (CEO Jeffrey) Katzenberg’s force of will.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The analyst said that while he is “skeptical about the strategic logic” for Comcast in inking the deal, it is an excellent one for DreamWorks.\u003c/p>\n\u003cp>“Despite some positive recent developments with TV production and the Awesomeness asset, DWA remains a company that has not generated significant earnings since 2010,” Creutz wrote. “We think DWA is worth far less than either Marvel or Lucasfilm, for which Disney paid comparable prices when they acquired those companies.”\u003c/p>\n\u003cp>Once the deal closes, DreamWorks co-founder and CEO Katzenberg will become chairman of DreamWorks New Media. He’ll also serve as a consultant to NBCUniversal. Creutz called it a “happy exit.” Katzenberg owned nearly 10 million shares — meaning he’ll receive over $400 million — and controlled 60 percent of the voting shares in the company, which spun off from DreamWorks Pictures as a publicly traded company in 2004. DreamWorks Pictures, backed by Steven Spielberg, produces live action movies like “Bridge of Spies” and is not part of the deal.\u003c/p>\n\u003cp>Earlier this year, DreamWorks expanded a licensing deal with Netflix Inc. to have the online video service feature more of its series and movies. The expanded licensing agreement announced in January allows Netflix to showcase several new DreamWorks series, including “Trollhunters,” a fantasy created by acclaimed movie director Guillermo del Toro. The deal gives Netflix more video likely to appeal to children, an audience segment that has played an important role in its growing its service to 81.5 million subscribers in the first quarter.\u003c/p>\n\u003cp>The boards of both Comcast and DreamWorks have approved the transaction, which is targeted to close by year’s end.\u003c/p>\n\u003cp>Shares of DreamWorks Animation SKG Inc. leapt $7.76, or 24 percent, to $39.97 while Comcast added 9 cents to $61.39 in afternoon trading.\u003c/p>\n\u003cp>______\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Investigators are looking into whether Prince died from an overdose and whether a doctor was prescribing him drugs in the weeks before he was found dead at his home in suburban Minneapolis, a law enforcement official told The Associated Press on Thursday.\u003c/p>\n\u003cp>The official said that among the things investigators are looking at is whether a doctor was with Prince on a plane that made an emergency landing in Illinois less than a week before the star died.\u003c/p>\n\u003cp>The law enforcement official has been briefed on the investigation and spoke to the AP on condition of anonymity because he was not authorized to speak to the media.\u003c/p>\n\u003cp>The official said investigators are also looking into what kind of drugs were on the plane and at Prince’s house in suburban Minneapolis.\u003c/p>\n\u003cp>The official also confirmed some details that have previously been reported by other media outlets, including TMZ.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prince’s plane made an emergency stop in Moline, in western Illinois, on April 15 and he was found unconscious on the plane, the official said. The person said first responders gave Prince a shot of Narcan, which is used in suspected opioid overdoses. The official said the so-called save shot was given when the plane was on the tarmac in Moline as Prince returned to Minneapolis following a performance in Atlanta.\u003c/p>\n\u003cp>The official said investigators are looking at whether Prince overdosed on the plane and whether an overdose killed him, and at what kind of drugs were involved. One possibility is the powerful painkiller Percocet or something similar, the official said.\u003c/p>\n\u003cp>Narcan can be used on people even if an overdose isn’t confirmed because it wouldn’t necessarily be harmful.\u003c/p>\n\u003cp>While it’s premature to say where the investigation is heading, the mention of a doctor calls to mind other celebrity deaths, including Michael Jackson’s. Jackson’s doctor, Conrad Murray, was convicted of involuntary manslaughter for his role in prescribing a powerful anesthetic that contributed to the pop star’s death in 2009.\u003c/p>\n\u003cp>A second law enforcement official told AP that prescription drugs were discovered at Prince’s home when the musician was found dead on April 21.\u003c/p>\n\u003cp>That official spoke on condition of anonymity because the person was not authorized to speak about the ongoing investigation into Prince’s death. The official did not elaborate. An autopsy has been performed, but results aren’t expected for three to four weeks. The search warrant for Prince’s Paisley Park home and studio — carried out the day of his death — was filed Thursday under seal at the request of investigators who said it would hamper their investigation if contents were public.\u003c/p>\n\u003cp>An affidavit in support of sealing the warrant, signed by Carver County Chief Deputy Jason Kamerud, also warned that disclosing details in the warrant could cause “the search or related searches to be unsuccessful” and risk injury to innocent people.\u003c/p>\n\u003cp>Kamerud declined to comment Thursday on the reports of drugs found at Paisley Park, and told AP that he strongly disputed reports by several media outlets that investigators had asked the U.S. Drug Enforcement Administration for help in the case.\u003c/p>\n\u003cp>“We have not asked them for help, or asked them to be a part of the investigation,” Kamerud said. “We might contact them to help us, but that hasn’t happened. We don’t have the medical examiner’s report yet. We don’t know to what extent pharmaceuticals could be a part of this.”\u003c/p>\n\u003cp>Leo Hawkins, a DEA spokesman in Chicago, said he had no comment.\u003c/p>\n\u003cp>Prince’s death came two weeks after he canceled concerts in Atlanta, saying he wasn’t feeling well. He played a pair of makeup shows April 14 in that city. Prince was scheduled to perform two shows in St. Louis but canceled them shortly before his death due to health concerns.\u003c/p>\n\u003cp>Longtime friend and collaborator Sheila E. has told the AP that Prince had physical issues from performing, citing hip and knee problems that she said came from years of jumping off risers and stage speakers in heels.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Tarm reported from Chicago. Tucker reported from Washington, D.C.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"excerpt": "An anonymous official working on the case says they are also investigating the emergency landing the week before Prince's death",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prince’s plane made an emergency stop in Moline, in western Illinois, on April 15 and he was found unconscious on the plane, the official said. The person said first responders gave Prince a shot of Narcan, which is used in suspected opioid overdoses. The official said the so-called save shot was given when the plane was on the tarmac in Moline as Prince returned to Minneapolis following a performance in Atlanta.\u003c/p>\n\u003cp>The official said investigators are looking at whether Prince overdosed on the plane and whether an overdose killed him, and at what kind of drugs were involved. One possibility is the powerful painkiller Percocet or something similar, the official said.\u003c/p>\n\u003cp>Narcan can be used on people even if an overdose isn’t confirmed because it wouldn’t necessarily be harmful.\u003c/p>\n\u003cp>While it’s premature to say where the investigation is heading, the mention of a doctor calls to mind other celebrity deaths, including Michael Jackson’s. Jackson’s doctor, Conrad Murray, was convicted of involuntary manslaughter for his role in prescribing a powerful anesthetic that contributed to the pop star’s death in 2009.\u003c/p>\n\u003cp>A second law enforcement official told AP that prescription drugs were discovered at Prince’s home when the musician was found dead on April 21.\u003c/p>\n\u003cp>That official spoke on condition of anonymity because the person was not authorized to speak about the ongoing investigation into Prince’s death. The official did not elaborate. An autopsy has been performed, but results aren’t expected for three to four weeks. The search warrant for Prince’s Paisley Park home and studio — carried out the day of his death — was filed Thursday under seal at the request of investigators who said it would hamper their investigation if contents were public.\u003c/p>\n\u003cp>An affidavit in support of sealing the warrant, signed by Carver County Chief Deputy Jason Kamerud, also warned that disclosing details in the warrant could cause “the search or related searches to be unsuccessful” and risk injury to innocent people.\u003c/p>\n\u003cp>Kamerud declined to comment Thursday on the reports of drugs found at Paisley Park, and told AP that he strongly disputed reports by several media outlets that investigators had asked the U.S. Drug Enforcement Administration for help in the case.\u003c/p>\n\u003cp>“We have not asked them for help, or asked them to be a part of the investigation,” Kamerud said. “We might contact them to help us, but that hasn’t happened. We don’t have the medical examiner’s report yet. We don’t know to what extent pharmaceuticals could be a part of this.”\u003c/p>\n\u003cp>Leo Hawkins, a DEA spokesman in Chicago, said he had no comment.\u003c/p>\n\u003cp>Prince’s death came two weeks after he canceled concerts in Atlanta, saying he wasn’t feeling well. He played a pair of makeup shows April 14 in that city. Prince was scheduled to perform two shows in St. Louis but canceled them shortly before his death due to health concerns.\u003c/p>\n\u003cp>Longtime friend and collaborator Sheila E. has told the AP that Prince had physical issues from performing, citing hip and knee problems that she said came from years of jumping off risers and stage speakers in heels.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Tarm reported from Chicago. Tucker reported from Washington, D.C.\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": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/04/TDL20160429.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>April 29 -May 1: \u003c/strong> Pianist \u003ca href=\"http://abdullahibrahim.co.za/\" target=\"_blank\" rel=\"noopener\">Abdullah Ibrahim\u003c/a>, once nicknamed Dollar Brand, is a pioneer of Cape Jazz, as in Cape Town, South Africa, where he grew up. His song “Mannenberg” (you’ll know it when you hear it) became the unofficial anthem of the Anti-Apartheid movement.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hiQ0uyqySBg\u003cbr>\nNelson Mandela called Ibrahim “South Africa’s Mozart.” He got his first recording gig after Duke Ellington saw him in Europe and championed his music. And he even led the Ellington Orchestra a few times in the 1960’s. He’s still making gorgeous music, so no excuse if you miss this 81 year old master at \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> this weekend. We won’t get many more chances. Details \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://vimeo.com/57729188\u003c/p>\n\u003cp>\u003cstrong>April 30: \u003c/strong>\u003ca href=\"http://www.erikjekabson.com/bio/\" target=\"_blank\" rel=\"noopener\">Erik Jekabson\u003c/a> is one of the Bay Area’s indispensable session players. I caught him a few weeks ago backing Natalie Cressman in her gig at SFJAZZ, and he offered impeccable support and artfully shaped solos. He’s leading his Stringtet Saturday at the \u003ca href=\"http://musicallyminded.org/\" target=\"_blank\" rel=\"noopener\">Musically Minded Academy\u003c/a> in Oakland’s Rockridge, and you won’t find a more tasteful evening of jazz. Details \u003ca href=\"http://musicallyminded.org/events/category/professional_concerts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q6WsKQrAHVg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>May 6 – May 29:\u003c/strong> There’s so much good theater right now in the Bay Area, but here’s another show you have to make time for, \u003cem>The Most Dangerous Highway in the World\u003c/em> by Kevin Artigue, the opening show for \u003ca href=\"http://www.goldenthread.org/2016-season/\" target=\"_blank\" rel=\"noopener\">Golden Thread’s \u003c/a>new season. The play is inspired by a \u003cem>New York Times\u003c/em> article about an Afghan boy who helps direct traffic with a plastic Pepsi bottle on a mountain highway in Afghanistan in return for tips from long haul truckers and American soldiers. Details \u003ca href=\"http://www.goldenthread.org/2016-season/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pOB4YD7iZDA\u003c/p>\n\u003cp>\u003cstrong>May 4 – June 26:\u003c/strong> \u003ca href=\"http://cypressquartet.com/\" target=\"_blank\" rel=\"noopener\">The Cypress String Quartet\u003c/a> set out 20 years ago to play and record all of Beethoven’s string quartets (with a few detours for some modern composers). Now that they’re done, they’re disbanding. It’s not, said cellist Jennifer Kloetzel, that they aren’t still finding fresh insights into Beethoven’s amazing cycle of quartets: “My colleagues tease me and say Beethoven is like your boyfriend, because I’m so obsessed with how he dug very deep. I can perform one of these quartets hundreds of times and always find something new in it.”\u003c/p>\n\u003cp>But Kloetzel said she and the other members (Cecily Ward, violin; Tom Stone, violin; Ethan Filner, viola) have other projects they want to pursue. Still they’re going out like “Thelma and Louise, full speed ahead,” with a series of free concerts in every district of San Francisco, the quartet’s home, plus ticketed concerts in Napa, Berkeley and Palo Alto. Details for this lovely parting gift are \u003ca href=\"http://cypressquartet.com/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8XW7fFUnggo\u003c/p>\n\u003cp>\u003cstrong>May 5: \u003c/strong>\u003ca href=\"http://www.oakarts.org/\" target=\"_blank\" rel=\"noopener\">The Oakland School for the Arts\u003c/a> had a world premiere earlier this year — they mounted the \u003ca href=\"http://ww2.kqed.org/arts/2016/03/01/oakland-school-premiering-webber-penned-school-of-rock-production/\" target=\"_blank\" rel=\"noopener\">very first amateur production of the Broadway hit School of Rock\u003c/a>. And now the 120 students in the OSA’s School of Vocal Music are putting on their own show. The theme is Identity, a big deal for any high-schooler. The difference is these kids can really sing, and dance. I caught a contingent of the Vocal Music students recently doing a song from the Broadway show \u003cem>Fun Home\u003c/em>, and they just about broke my heart. Details for their show at The Fox in Oakland are\u003ca href=\"https://www.facebook.com/events/788144131315539/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pmgBdqsOwLo\u003c/p>\n\u003cp>\u003cstrong>May 2\u003c/strong>: Echo Park’s \u003ca href=\"https://www.facebook.com/HelloBleached\" target=\"_blank\" rel=\"noopener\">Bleached \u003c/a>have been described as “Evil Go-Go’s, and their new album is \u003ca href=\"http://www.latimes.com/entertainment/music/la-ca-ms-bleached-20160403-1-story.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Welcome the Worms\u003c/em>\u003c/a>, which I guess is a graveyard expression suggesting we all embrace the darkness of life. But you can hear a hint of sunnier West Coast pop peeking through the punk negativity. Sisters Jennifer and Jessica Clavin formerly of the Mika Miko, bassist Micayla Grace, and drummer Mark Jordan play with extraordinary energy. Definitely a \u003cstrong>Cheap Thrill.\u003c/strong> Details for Bleached’s \u003ca href=\"http://www.bottomofthehill.com/20160502.html#.VyEqivkrKJA\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill gig are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>April 29 -May 1: \u003c/strong> Pianist \u003ca href=\"http://abdullahibrahim.co.za/\" target=\"_blank\" rel=\"noopener\">Abdullah Ibrahim\u003c/a>, once nicknamed Dollar Brand, is a pioneer of Cape Jazz, as in Cape Town, South Africa, where he grew up. His song “Mannenberg” (you’ll know it when you hear it) became the unofficial anthem of the Anti-Apartheid movement.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hiQ0uyqySBg\u003cbr>\nNelson Mandela called Ibrahim “South Africa’s Mozart.” He got his first recording gig after Duke Ellington saw him in Europe and championed his music. And he even led the Ellington Orchestra a few times in the 1960’s. He’s still making gorgeous music, so no excuse if you miss this 81 year old master at \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> this weekend. We won’t get many more chances. Details \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>April 30: \u003c/strong>\u003ca href=\"http://www.erikjekabson.com/bio/\" target=\"_blank\" rel=\"noopener\">Erik Jekabson\u003c/a> is one of the Bay Area’s indispensable session players. I caught him a few weeks ago backing Natalie Cressman in her gig at SFJAZZ, and he offered impeccable support and artfully shaped solos. He’s leading his Stringtet Saturday at the \u003ca href=\"http://musicallyminded.org/\" target=\"_blank\" rel=\"noopener\">Musically Minded Academy\u003c/a> in Oakland’s Rockridge, and you won’t find a more tasteful evening of jazz. Details \u003ca href=\"http://musicallyminded.org/events/category/professional_concerts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/q6WsKQrAHVg'\n title='//www.youtube.com/embed/q6WsKQrAHVg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 6 – May 29:\u003c/strong> There’s so much good theater right now in the Bay Area, but here’s another show you have to make time for, \u003cem>The Most Dangerous Highway in the World\u003c/em> by Kevin Artigue, the opening show for \u003ca href=\"http://www.goldenthread.org/2016-season/\" target=\"_blank\" rel=\"noopener\">Golden Thread’s \u003c/a>new season. The play is inspired by a \u003cem>New York Times\u003c/em> article about an Afghan boy who helps direct traffic with a plastic Pepsi bottle on a mountain highway in Afghanistan in return for tips from long haul truckers and American soldiers. Details \u003ca href=\"http://www.goldenthread.org/2016-season/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pOB4YD7iZDA'\n title='//www.youtube.com/embed/pOB4YD7iZDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 4 – June 26:\u003c/strong> \u003ca href=\"http://cypressquartet.com/\" target=\"_blank\" rel=\"noopener\">The Cypress String Quartet\u003c/a> set out 20 years ago to play and record all of Beethoven’s string quartets (with a few detours for some modern composers). Now that they’re done, they’re disbanding. It’s not, said cellist Jennifer Kloetzel, that they aren’t still finding fresh insights into Beethoven’s amazing cycle of quartets: “My colleagues tease me and say Beethoven is like your boyfriend, because I’m so obsessed with how he dug very deep. I can perform one of these quartets hundreds of times and always find something new in it.”\u003c/p>\n\u003cp>But Kloetzel said she and the other members (Cecily Ward, violin; Tom Stone, violin; Ethan Filner, viola) have other projects they want to pursue. Still they’re going out like “Thelma and Louise, full speed ahead,” with a series of free concerts in every district of San Francisco, the quartet’s home, plus ticketed concerts in Napa, Berkeley and Palo Alto. Details for this lovely parting gift are \u003ca href=\"http://cypressquartet.com/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8XW7fFUnggo'\n title='//www.youtube.com/embed/8XW7fFUnggo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 5: \u003c/strong>\u003ca href=\"http://www.oakarts.org/\" target=\"_blank\" rel=\"noopener\">The Oakland School for the Arts\u003c/a> had a world premiere earlier this year — they mounted the \u003ca href=\"http://ww2.kqed.org/arts/2016/03/01/oakland-school-premiering-webber-penned-school-of-rock-production/\" target=\"_blank\" rel=\"noopener\">very first amateur production of the Broadway hit School of Rock\u003c/a>. And now the 120 students in the OSA’s School of Vocal Music are putting on their own show. The theme is Identity, a big deal for any high-schooler. The difference is these kids can really sing, and dance. I caught a contingent of the Vocal Music students recently doing a song from the Broadway show \u003cem>Fun Home\u003c/em>, and they just about broke my heart. Details for their show at The Fox in Oakland are\u003ca href=\"https://www.facebook.com/events/788144131315539/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pmgBdqsOwLo'\n title='//www.youtube.com/embed/pmgBdqsOwLo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 2\u003c/strong>: Echo Park’s \u003ca href=\"https://www.facebook.com/HelloBleached\" target=\"_blank\" rel=\"noopener\">Bleached \u003c/a>have been described as “Evil Go-Go’s, and their new album is \u003ca href=\"http://www.latimes.com/entertainment/music/la-ca-ms-bleached-20160403-1-story.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Welcome the Worms\u003c/em>\u003c/a>, which I guess is a graveyard expression suggesting we all embrace the darkness of life. But you can hear a hint of sunnier West Coast pop peeking through the punk negativity. Sisters Jennifer and Jessica Clavin formerly of the Mika Miko, bassist Micayla Grace, and drummer Mark Jordan play with extraordinary energy. Definitely a \u003cstrong>Cheap Thrill.\u003c/strong> Details for Bleached’s \u003ca href=\"http://www.bottomofthehill.com/20160502.html#.VyEqivkrKJA\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill gig are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Happens when you Cast 'Hamlet' by Pulling Names out of Yorick's Skull",
"headTitle": "What Happens when you Cast ‘Hamlet’ by Pulling Names out of Yorick’s Skull | KQED",
"content": "\u003cp>Behind the character of Shakespeare’s Hamlet is a line of thousands of actors. They have come to him over and over again, as if he were less a role to play than an artistic pilgrimage. We speak of Olivier’s Hamlet, Burton’s Hamlet, Gielgud’s Hamlet, Richardson’s, Berkoff’s, Kline’s, Hawkes’, Branagh’s, Cumberbatch’s…the list goes on. And we even speak with regret of the Hamlets that \u003cem>might have been\u003c/em>: Brando’s, Dean’s, Welles’. We dream of them all, if only to toss them aside as likely to have come up short.\u003c/p>\n\u003cp>Yet Hamlet will have none of it. The most definitive character of the Western canon is also the most elusive. Every attempt seems a gloss — an approximation of the real thing. And so Shakespeare’s \u003cem>Hamlet\u003c/em> has always seemed more of an actor’s play than a director’s; more about an ambitious actor confronting an impossible role than the personal and political struggles of one royal family in Denmark. As a weeping teenager said to me after a rather pedestrian production, “we have lost a beautiful soul.” One might add, that we have lost all the souls determined to bring that soul to life. Enter the graveyard and behold the ghosts. It’s a crowded field.\u003c/p>\n\u003cp>Mark Jackson knows that. The director and conceptual wizard behind the Shotgun Players’ uplifting and weirdly affecting \u003cem>Hamlet\u003c/em> once performed a version of the play, \u003cem>I am Hamlet\u003c/em>, in which Hamlet played all the roles himself.\u003c/p>\n\u003cp>Here, Jackson reverses the equation. Announcing before the performance begins to the audience that the actors have no idea who they’re going to play — and in fact no one does, not even the director himself — he invites the cast of seven on stage. The actors run out with the peppy bonhomie of game show contestants, line up in a row before us, and wait. Who will play Hamlet? And for that matter Claudius, Ophelia, Polonius, Laertes? Jackson pulls the cast list out of Yorick’s skull and assigns the parts one by one. It’s a goofy, curiously intense moment.\u003c/p>\n\u003cfigure id=\"attachment_11528061\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528061\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-800x444.jpg\" alt=\"(From L to R) Beth Wilmurt, Cathleen Riddley, Nick Medina, El Beh, Kevin Clarke, David Sinaiko, and Megan Trout wait to be assigned their roles. Photo:\" width=\"800\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-800x444.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-400x222.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-768x426.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-960x533.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727.jpg 1150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(From L to R) Beth Wilmurt, Cathleen Riddley, Nick Medina, El Beh, Kevin Clarke, David Sinaiko, and Megan Trout wait to be assigned their roles. Photo: Pak Han.\u003c/figcaption>\u003c/figure>\n\u003cp>You immediately notice that there isn’t a conventional Hamlet in the cast. They are a wonderfully eclectic bunch: men and women, a smattering of ages and races, and, if you follow Bay Area performers, even different acting styles. So the first move Jackson makes in this \u003cem>Hamlet\u003c/em> is both to play up and side step the drama of playing Hamlet. There will be a confrontation between actor and role, but one unknown until the very last moment. And this is the rub: what is true for Hamlet will now be true for all the other roles as well. We are plunged into a democracy of infinite possibilities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Is that gray-haired man capable of playing the young and tragic Ophelia? Can that young woman possibly understand what it means to be Polonius, an aging stooge to the king? What would an African-American woman bring to Hamlet or Hamlet to her? Every role becomes a question and every cast member an uncertain answer. Even talent, at least how we normally perceive it, loses meaning in this production. Instead, the question becomes one of qualities: how does this particular person, unlikely or perfectly cast, transform the character and, most importantly, the play?\u003c/p>\n\u003cp>Nick Medina, a revelation all three nights I saw him, opens up aspects of \u003cem>Hamlet\u003c/em> that are often unrealized. I always thought of Gertrude as cold, not compassionate. Yet watch him tear up, not showily, when his character watches Ophelia go mad, or his shock when Gertrude realizes that Claudius has no feeling for her son. Here is a young man’s body, wild and forceful, giving subtle expression to the half-formed fears of a middle-aged woman.\u003c/p>\n\u003cfigure id=\"attachment_11528072\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11528072 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3-1-800x534.jpg\" alt=\"Hamlet\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Beth Wilmurt as Gertrude and Nick Medina as Claudius. Photo: Pak Han.\u003c/figcaption>\u003c/figure>\n\u003cp>And on a different night that same body takes on Ophelia, so that when she goes mad, Medina unleashes a shocking male physicality into Ophelia’s rage. It feels as if she’s being played by a wrestler and it not only works, but it also feels true. We don’t lose the fact that Ophelia’s a young woman, but instead gain the expressive force of brute male strength. I thought he would destroy her costume.\u003c/p>\n\u003cp>Other actors provide similar chameleon thrills. Kevin Clarke makes for a passionate and precise Hamlet. It’s a thrilling performance. And the next night, he brings those same qualities to Laertes and it unleashes a crazy energy into the production. Beth Wilmurt slips so easily into Polonius that you have to keep reminding yourself that the character is not a woman. So that when he warns Ophelia of the dangers in falling in love with Hamlet, you can’t help but feel that Wilmurt is talking to a younger version of herself — that she once was Ophelia, and ironically in this production, still might be.\u003c/p>\n\u003cp>The play begins with a ghost. But see the play three times in a row as I did, and it feels as if the entire cast has a touch of the dead and missing about them. Wasn’t Clarke Hamlet’s father the day before he played Hamlet? Megan Trout’s commanding Claudius has strong traces of her equally regal Gertrude. In playing Polonius, Laertes, and Ophelia over successive nights, Cathleen Riddley sketches a beautiful portrait of a most unfortunate family, all victims of Hamlet’s rage. Cast her to type and she would have been the missing wife and mother that the play never mentions.\u003c/p>\n\u003cfigure id=\"attachment_11528068\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11528068 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/6-800x533.jpg\" alt=\"Hamlet\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Beth Wilmurt as Gertrude, Nick Medina as Claudius, Cathleen Riddley as Ophelia, and Megan Trout as Laertes. Photo: Pak Han.\u003c/figcaption>\u003c/figure>\n\u003cp>There are only seven actors in this production, but they produce scores of ghosts, doppelgangers, and strange memories of themselves. It’s a beautiful effect and a unique and rich response to the play.\u003c/p>\n\u003cp>But given the amount of daring, skill, energy, and focus it must have taken to produce this \u003cem>Hamlet\u003c/em>, it goes without saying that you should not expect a perfect production. Jackson’s cut of the play is sharp and smooth, though it sacrifices much of the political statecraft that makes Hamlet such a fascinating public figure, both for Shakespeare’s imagined Denmark and us as well. This is a \u003cem>Hamlet\u003c/em> of intense personal feeling, and the production only falters when it takes on some of the play’s more public scenes. These include the opening coronation of Claudius, the staging of the play-within-the-play, and the final fight where a rethinking of the stage combat is needed.\u003c/p>\n\u003cp>These are all small concerns, though. Everything about this \u003cem>Hamlet\u003c/em>, even the in-character calls for the odd forgotten line, is alive to one of the greatest plays in the world. We should be thankful to witness such a circus of daring.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>The initial run of \u003cem>Hamlet\u003c/em> plays through Sunday, May 15 at Shotgun Players’ Ashby Stage in Berkeley, and it will continue to run in rep (alongside other plays in the season) through January, 2017. For tickets and information go to www.shotgunplayers.org.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Behind the character of Shakespeare’s Hamlet is a line of thousands of actors. They have come to him over and over again, as if he were less a role to play than an artistic pilgrimage. We speak of Olivier’s Hamlet, Burton’s Hamlet, Gielgud’s Hamlet, Richardson’s, Berkoff’s, Kline’s, Hawkes’, Branagh’s, Cumberbatch’s…the list goes on. And we even speak with regret of the Hamlets that \u003cem>might have been\u003c/em>: Brando’s, Dean’s, Welles’. We dream of them all, if only to toss them aside as likely to have come up short.\u003c/p>\n\u003cp>Yet Hamlet will have none of it. The most definitive character of the Western canon is also the most elusive. Every attempt seems a gloss — an approximation of the real thing. And so Shakespeare’s \u003cem>Hamlet\u003c/em> has always seemed more of an actor’s play than a director’s; more about an ambitious actor confronting an impossible role than the personal and political struggles of one royal family in Denmark. As a weeping teenager said to me after a rather pedestrian production, “we have lost a beautiful soul.” One might add, that we have lost all the souls determined to bring that soul to life. Enter the graveyard and behold the ghosts. It’s a crowded field.\u003c/p>\n\u003cp>Mark Jackson knows that. The director and conceptual wizard behind the Shotgun Players’ uplifting and weirdly affecting \u003cem>Hamlet\u003c/em> once performed a version of the play, \u003cem>I am Hamlet\u003c/em>, in which Hamlet played all the roles himself.\u003c/p>\n\u003cp>Here, Jackson reverses the equation. Announcing before the performance begins to the audience that the actors have no idea who they’re going to play — and in fact no one does, not even the director himself — he invites the cast of seven on stage. The actors run out with the peppy bonhomie of game show contestants, line up in a row before us, and wait. Who will play Hamlet? And for that matter Claudius, Ophelia, Polonius, Laertes? Jackson pulls the cast list out of Yorick’s skull and assigns the parts one by one. It’s a goofy, curiously intense moment.\u003c/p>\n\u003cfigure id=\"attachment_11528061\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528061\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-800x444.jpg\" alt=\"(From L to R) Beth Wilmurt, Cathleen Riddley, Nick Medina, El Beh, Kevin Clarke, David Sinaiko, and Megan Trout wait to be assigned their roles. Photo:\" width=\"800\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-800x444.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-400x222.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-768x426.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-960x533.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727.jpg 1150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(From L to R) Beth Wilmurt, Cathleen Riddley, Nick Medina, El Beh, Kevin Clarke, David Sinaiko, and Megan Trout wait to be assigned their roles. Photo: Pak Han.\u003c/figcaption>\u003c/figure>\n\u003cp>You immediately notice that there isn’t a conventional Hamlet in the cast. They are a wonderfully eclectic bunch: men and women, a smattering of ages and races, and, if you follow Bay Area performers, even different acting styles. So the first move Jackson makes in this \u003cem>Hamlet\u003c/em> is both to play up and side step the drama of playing Hamlet. There will be a confrontation between actor and role, but one unknown until the very last moment. And this is the rub: what is true for Hamlet will now be true for all the other roles as well. We are plunged into a democracy of infinite possibilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Is that gray-haired man capable of playing the young and tragic Ophelia? Can that young woman possibly understand what it means to be Polonius, an aging stooge to the king? What would an African-American woman bring to Hamlet or Hamlet to her? Every role becomes a question and every cast member an uncertain answer. Even talent, at least how we normally perceive it, loses meaning in this production. Instead, the question becomes one of qualities: how does this particular person, unlikely or perfectly cast, transform the character and, most importantly, the play?\u003c/p>\n\u003cp>Nick Medina, a revelation all three nights I saw him, opens up aspects of \u003cem>Hamlet\u003c/em> that are often unrealized. I always thought of Gertrude as cold, not compassionate. Yet watch him tear up, not showily, when his character watches Ophelia go mad, or his shock when Gertrude realizes that Claudius has no feeling for her son. Here is a young man’s body, wild and forceful, giving subtle expression to the half-formed fears of a middle-aged woman.\u003c/p>\n\u003cfigure id=\"attachment_11528072\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11528072 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3-1-800x534.jpg\" alt=\"Hamlet\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Beth Wilmurt as Gertrude and Nick Medina as Claudius. Photo: Pak Han.\u003c/figcaption>\u003c/figure>\n\u003cp>And on a different night that same body takes on Ophelia, so that when she goes mad, Medina unleashes a shocking male physicality into Ophelia’s rage. It feels as if she’s being played by a wrestler and it not only works, but it also feels true. We don’t lose the fact that Ophelia’s a young woman, but instead gain the expressive force of brute male strength. I thought he would destroy her costume.\u003c/p>\n\u003cp>Other actors provide similar chameleon thrills. Kevin Clarke makes for a passionate and precise Hamlet. It’s a thrilling performance. And the next night, he brings those same qualities to Laertes and it unleashes a crazy energy into the production. Beth Wilmurt slips so easily into Polonius that you have to keep reminding yourself that the character is not a woman. So that when he warns Ophelia of the dangers in falling in love with Hamlet, you can’t help but feel that Wilmurt is talking to a younger version of herself — that she once was Ophelia, and ironically in this production, still might be.\u003c/p>\n\u003cp>The play begins with a ghost. But see the play three times in a row as I did, and it feels as if the entire cast has a touch of the dead and missing about them. Wasn’t Clarke Hamlet’s father the day before he played Hamlet? Megan Trout’s commanding Claudius has strong traces of her equally regal Gertrude. In playing Polonius, Laertes, and Ophelia over successive nights, Cathleen Riddley sketches a beautiful portrait of a most unfortunate family, all victims of Hamlet’s rage. Cast her to type and she would have been the missing wife and mother that the play never mentions.\u003c/p>\n\u003cfigure id=\"attachment_11528068\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11528068 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/6-800x533.jpg\" alt=\"Hamlet\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Beth Wilmurt as Gertrude, Nick Medina as Claudius, Cathleen Riddley as Ophelia, and Megan Trout as Laertes. Photo: Pak Han.\u003c/figcaption>\u003c/figure>\n\u003cp>There are only seven actors in this production, but they produce scores of ghosts, doppelgangers, and strange memories of themselves. It’s a beautiful effect and a unique and rich response to the play.\u003c/p>\n\u003cp>But given the amount of daring, skill, energy, and focus it must have taken to produce this \u003cem>Hamlet\u003c/em>, it goes without saying that you should not expect a perfect production. Jackson’s cut of the play is sharp and smooth, though it sacrifices much of the political statecraft that makes Hamlet such a fascinating public figure, both for Shakespeare’s imagined Denmark and us as well. This is a \u003cem>Hamlet\u003c/em> of intense personal feeling, and the production only falters when it takes on some of the play’s more public scenes. These include the opening coronation of Claudius, the staging of the play-within-the-play, and the final fight where a rethinking of the stage combat is needed.\u003c/p>\n\u003cp>These are all small concerns, though. Everything about this \u003cem>Hamlet\u003c/em>, even the in-character calls for the odd forgotten line, is alive to one of the greatest plays in the world. We should be thankful to witness such a circus of daring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The initial run of \u003cem>Hamlet\u003c/em> plays through Sunday, May 15 at Shotgun Players’ Ashby Stage in Berkeley, and it will continue to run in rep (alongside other plays in the season) through January, 2017. For tickets and information go to www.shotgunplayers.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Minnesota judge appointed a corporate trust company on Wednesday to temporarily oversee Prince’s multimillion-dollar estate, saying the emergency appointment was necessary because the superstar musician doesn’t appear to have a will and immediate decisions must be made about his business interests.\u003c/p>\n\u003cp>Judge Kevin Eide granted a request from Prince’s sister to appoint Bremer Trust as special administrator, giving the company authority to manage and supervise Prince’s assets and identify his heirs. Eide said Prince had no appointed personal representative but had substantial assets and owned businesses that require immediate attention and ongoing management.\u003c/p>\n\u003cp>The judge also noted that identities and addresses of Prince’s heirs need to be determined. Prince’s only full sibling, Tyka Nelson, requested the move Tuesday, telling the court she believed her brother didn’t have a will. Prince also has five surviving half-siblings who could share in the estate.\u003c/p>\n\u003cp>Eide wrote that Prince died “intestate,” meaning he did not have a valid will, and said there was no pending application or petition for probate of a will in any court. However, someone could still come forward with a will or trust document, which happened after Michael Jackson died in June 2009. Jackson’s longtime lawyer John Branca filed a will six days after his death, upending moves by Jackson’s mother to become his estate’s executor based on her assumption there wasn’t a will.\u003c/p>\n\u003cp>For now, Bremer Trust will act as special administrator for six months or until a personal representative is appointed, whichever is less.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later Wednesday, the estate already had its first claim against it, with a filing from a California man who claimed that Prince had transferred ownership of his music catalog to him in 1995.\u003c/p>\n\u003cp>Prince, 57, died last week at Paisley Park, his famous home and recording studio complex in suburban Minneapolis. His cause of death hasn’t been released. An autopsy was conducted Friday, but results aren’t expected to be released for weeks.\u003c/p>\n\u003cp>The value of his estate isn’t known. Prince made hundreds of millions of dollars for record companies, concert venues and others, and the outpouring of grief and nostalgia after his death prompted fans to buy 2.3 million of his songs in just three days.\u003c/p>\n\u003cp>Prince also owned a dozen properties in Minnesota, most of it undeveloped land and some houses for relatives, worth about $27 million, according to public records. He also sold more than 100 million albums, and concert industry magazine Pollstar reported that in the years Prince’s tours topped the charts — 10 years over four decades performing — they raked in $225 million in ticket sales.\u003c/p>\n\u003cp>But it’s not clear how much money Prince had when he died, given that he had to pay record labels and staff and cover other expenses.\u003c/p>\n\u003cp>On Wednesday, Eide said Bremer Trust was in the best position to handle Prince’s estate. The judge noted that its affiliate, Bremer Bank, had worked with Prince and has knowledge of his personal and business finances.\u003c/p>\n\u003cp>The judge said Nelson and one of Prince’s half-brothers, Omarr Baker, were part of the telephone conference that prompted his decision Wednesday. The judge said no one objected to appointing a special administrator.\u003c/p>\n\u003cp>Under Minnesota law, if a person dies without a will — and with no surviving parents, children, or grandchildren — the next people in line to share in the estate are the surviving siblings, including half-siblings. Prince wasn’t married and had no known living children.\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>A Minnesota judge appointed a corporate trust company on Wednesday to temporarily oversee Prince’s multimillion-dollar estate, saying the emergency appointment was necessary because the superstar musician doesn’t appear to have a will and immediate decisions must be made about his business interests.\u003c/p>\n\u003cp>Judge Kevin Eide granted a request from Prince’s sister to appoint Bremer Trust as special administrator, giving the company authority to manage and supervise Prince’s assets and identify his heirs. Eide said Prince had no appointed personal representative but had substantial assets and owned businesses that require immediate attention and ongoing management.\u003c/p>\n\u003cp>The judge also noted that identities and addresses of Prince’s heirs need to be determined. Prince’s only full sibling, Tyka Nelson, requested the move Tuesday, telling the court she believed her brother didn’t have a will. Prince also has five surviving half-siblings who could share in the estate.\u003c/p>\n\u003cp>Eide wrote that Prince died “intestate,” meaning he did not have a valid will, and said there was no pending application or petition for probate of a will in any court. However, someone could still come forward with a will or trust document, which happened after Michael Jackson died in June 2009. Jackson’s longtime lawyer John Branca filed a will six days after his death, upending moves by Jackson’s mother to become his estate’s executor based on her assumption there wasn’t a will.\u003c/p>\n\u003cp>For now, Bremer Trust will act as special administrator for six months or until a personal representative is appointed, whichever is less.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Later Wednesday, the estate already had its first claim against it, with a filing from a California man who claimed that Prince had transferred ownership of his music catalog to him in 1995.\u003c/p>\n\u003cp>Prince, 57, died last week at Paisley Park, his famous home and recording studio complex in suburban Minneapolis. His cause of death hasn’t been released. An autopsy was conducted Friday, but results aren’t expected to be released for weeks.\u003c/p>\n\u003cp>The value of his estate isn’t known. Prince made hundreds of millions of dollars for record companies, concert venues and others, and the outpouring of grief and nostalgia after his death prompted fans to buy 2.3 million of his songs in just three days.\u003c/p>\n\u003cp>Prince also owned a dozen properties in Minnesota, most of it undeveloped land and some houses for relatives, worth about $27 million, according to public records. He also sold more than 100 million albums, and concert industry magazine Pollstar reported that in the years Prince’s tours topped the charts — 10 years over four decades performing — they raked in $225 million in ticket sales.\u003c/p>\n\u003cp>But it’s not clear how much money Prince had when he died, given that he had to pay record labels and staff and cover other expenses.\u003c/p>\n\u003cp>On Wednesday, Eide said Bremer Trust was in the best position to handle Prince’s estate. The judge noted that its affiliate, Bremer Bank, had worked with Prince and has knowledge of his personal and business finances.\u003c/p>\n\u003cp>The judge said Nelson and one of Prince’s half-brothers, Omarr Baker, were part of the telephone conference that prompted his decision Wednesday. The judge said no one objected to appointing a special administrator.\u003c/p>\n\u003cp>Under Minnesota law, if a person dies without a will — and with no surviving parents, children, or grandchildren — the next people in line to share in the estate are the surviving siblings, including half-siblings. Prince wasn’t married and had no known living children.\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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"title": "Report: Prince had Painkillers in his Possession at Time of Death [UPDATE]",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b> \u003cem>April 28, 2pm\u003c/em>\u003c/p>\n\u003cp>Sheriff’s deputies investigating the death of superstar Prince have reportedly found prescription painkillers in the artist’s home and are asking for assistance from the Drug Enforcement Agency (DEA), according \u003ca href=\"http://www.nbcnews.com/pop-culture/celebrity/prince-s-death-local-investigators-ask-dea-s-help-case-n563766\" target=\"_blank\" rel=\"noopener\">to several news reports\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”eVNGxOdzC7VuxQMqhL3CzPpAQil0CMPf”]\u003c/p>\n\u003cp>Prince died suddenly last Thursday at the age of 57 at his Minnesota home, less than a week after his plane made an emergency landing in Illinois because he was experiencing health issues, \u003ca href=\"http://www.nbcnews.com/pop-culture/music/prince-s-mysterious-final-flight-stopped-unresponsive-male-source-n560416\" target=\"_blank\" rel=\"noopener\">his representatives later said\u003c/a>.\u003c/p>\n\u003cp>It is unclear whether or not the painkillers played a role in the musician’s death; the day after Prince died, an autopsy was conducted but officials have said that the results would not be ready for weeks. The Carver County Sheriff’s office has reached out to the DEA for assistance in determining where the pills came from and what prescriptions Prince had obtained.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of Prince’s friends \u003ca href=\"http://www.tmz.com/2016/04/27/prince-percocet-addiction-doctors/\" target=\"_blank\" rel=\"noopener\">told TMZ\u003c/a> that the artist had been taking Percocet since 2009 and continued to do so after undergoing hip surgery the following year.\u003c/p>\n\u003cp>\u003cem>UPDATE:\u003c/em> The Associated Press reports that the Carver County Sheriff’s office denies reaching out to the DEA for assistance and has convinced a judge to seal the search warrant being used in their investigation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have not asked them for help, or asked them to be a part of the investigation,” Carver County Deputy Sheriff Jason Kamerud told the Associated Press. “We might contact them to help us, but that hasn’t happened. We don’t have the medical examiner’s report yet. We don’t know to what extent pharmaceuticals could be a part of this.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATE:\u003c/b> \u003cem>April 28, 2pm\u003c/em>\u003c/p>\n\u003cp>Sheriff’s deputies investigating the death of superstar Prince have reportedly found prescription painkillers in the artist’s home and are asking for assistance from the Drug Enforcement Agency (DEA), according \u003ca href=\"http://www.nbcnews.com/pop-culture/celebrity/prince-s-death-local-investigators-ask-dea-s-help-case-n563766\" target=\"_blank\" rel=\"noopener\">to several news reports\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Prince died suddenly last Thursday at the age of 57 at his Minnesota home, less than a week after his plane made an emergency landing in Illinois because he was experiencing health issues, \u003ca href=\"http://www.nbcnews.com/pop-culture/music/prince-s-mysterious-final-flight-stopped-unresponsive-male-source-n560416\" target=\"_blank\" rel=\"noopener\">his representatives later said\u003c/a>.\u003c/p>\n\u003cp>It is unclear whether or not the painkillers played a role in the musician’s death; the day after Prince died, an autopsy was conducted but officials have said that the results would not be ready for weeks. The Carver County Sheriff’s office has reached out to the DEA for assistance in determining where the pills came from and what prescriptions Prince had obtained.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of Prince’s friends \u003ca href=\"http://www.tmz.com/2016/04/27/prince-percocet-addiction-doctors/\" target=\"_blank\" rel=\"noopener\">told TMZ\u003c/a> that the artist had been taking Percocet since 2009 and continued to do so after undergoing hip surgery the following year.\u003c/p>\n\u003cp>\u003cem>UPDATE:\u003c/em> The Associated Press reports that the Carver County Sheriff’s office denies reaching out to the DEA for assistance and has convinced a judge to seal the search warrant being used in their investigation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have not asked them for help, or asked them to be a part of the investigation,” Carver County Deputy Sheriff Jason Kamerud told the Associated Press. “We might contact them to help us, but that hasn’t happened. We don’t have the medical examiner’s report yet. We don’t know to what extent pharmaceuticals could be a part of this.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Punk rock mainstays NOFX have been defying music industry trends for three decades. Now the band’s members can add a new achievement to their unlikely success story: Best-selling authors.\u003c/p>\n\u003cp>The collaborative autobiography \u003cem>Hepatitis Bathtub and Other Stories\u003c/em> reached No. 9 on the \u003cem>New York Times\u003c/em> best seller list for paperback nonfiction this week, and the band is on a tour that alternates shows with book signing events.\u003c/p>\n\u003cp>It has them exchanging graffiti-covered backstage rooms and music venues for the more erudite surroundings of the Harvard University book store in Boston on Thursday, the Strand in New York on Friday and Politics and Prose in Washington on Saturday.\u003c/p>\n\u003cp>Singer and bass player Mike Burkett, drummer Erik “Smelly” Sandin and guitarists Eric Melvin and Aaron “El Hefe” Abeyta spoke to The Associated Press on Tuesday at novelist Ann Patchett’s Parnassus Books in Nashville before signing books and paraphernalia for a crowd of fans lined up through the store, many with children — and sometimes grandchildren — in tow.\u003c/p>\n\u003cp>The book written with documentary filmmaker Jeff Alulis features first-person accounts about NOFX’s origins amid the violence of the Los Angeles punk scene in the early 1980s, the damaging influence of unsavory characters surrounding the band in its early years and members’ struggles with drugs, alcohol and general debauchery. All of that was followed by seemingly sudden success following Nirvana’s breakout and the ensuing boom for California punk bands like Green Day and Rancid in the early 1990s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burkett, known universally as “Fat Mike,” credits the band’s longevity to the fact that none of the members ever thought they’d make any money, and because they remained independent.\u003c/p>\n\u003cp>“Why did kids like listening to punk rock? Because it was secret music,” he said. “That’s why we never went to a major label. If everybody likes it, it’s no fun to like.”\u003c/p>\n\u003cp>Burkett doesn’t apologize for his blunt descriptions in the books of his forays into bondage, bodily fluids and other fetishism. That’s in keeping with the overall approach of the band, he said.\u003c/p>\n\u003cp>“You’ve always got to push. You’ve got to do things different than what’s been done,” Burkett said. “Other bands don’t want to offend audiences. I love offending audiences.”\u003c/p>\n\u003cp>Still, Burkett was shaken by the November attacks by Islamic extremists that left 89 people dead at an Eagles of Death Metal show at a Paris venue where NOFX has played before.\u003c/p>\n\u003cp>“I’m the cross-dressing Jew pervert, singing songs against all religions,” Burkett said. “We’ve always kept going with lyrics that are totally anti-social and not accepted. But now there’s people that will kill you for that.”\u003c/p>\n\u003cp>The band has since ramped up security for its European shows, hiring a former Navy SEAL to coordinate protection for the band.\u003c/p>\n\u003cp>In the book, amusing stories like the inadvertent theft of the Red Hot Chili Peppers’ stage costumes are balanced with darker memories. For example, guitarist Melvin for the first time discloses to bandmates, family and the public that he was sexually abused by a schoolmate’s father as a child.\u003c/p>\n\u003cp>“For years I just kept it inside, not talking about it,” said Melvin. “People are afraid for many different reasons to talk about it — and what you need to do is talk about it and to sort it out.”\u003c/p>\n\u003cp>Drummer Sandin and band mates candidly discuss their struggles to cope with his worsening heroin addiction, followed by his successful effort to quit taking drugs even as his bandmates continue to revel in mind-altering substances.\u003c/p>\n\u003cp>“They gave me the ultimatum that I either needed to get sober or I was going to die for sure,” Sandlin said. “So I got sober and I got clean, and now I’m on the outs because they’re partying and I’m kind of to myself.”\u003c/p>\n\u003cp>“But I’m happy where I’m at,” he said.\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>Punk rock mainstays NOFX have been defying music industry trends for three decades. Now the band’s members can add a new achievement to their unlikely success story: Best-selling authors.\u003c/p>\n\u003cp>The collaborative autobiography \u003cem>Hepatitis Bathtub and Other Stories\u003c/em> reached No. 9 on the \u003cem>New York Times\u003c/em> best seller list for paperback nonfiction this week, and the band is on a tour that alternates shows with book signing events.\u003c/p>\n\u003cp>It has them exchanging graffiti-covered backstage rooms and music venues for the more erudite surroundings of the Harvard University book store in Boston on Thursday, the Strand in New York on Friday and Politics and Prose in Washington on Saturday.\u003c/p>\n\u003cp>Singer and bass player Mike Burkett, drummer Erik “Smelly” Sandin and guitarists Eric Melvin and Aaron “El Hefe” Abeyta spoke to The Associated Press on Tuesday at novelist Ann Patchett’s Parnassus Books in Nashville before signing books and paraphernalia for a crowd of fans lined up through the store, many with children — and sometimes grandchildren — in tow.\u003c/p>\n\u003cp>The book written with documentary filmmaker Jeff Alulis features first-person accounts about NOFX’s origins amid the violence of the Los Angeles punk scene in the early 1980s, the damaging influence of unsavory characters surrounding the band in its early years and members’ struggles with drugs, alcohol and general debauchery. All of that was followed by seemingly sudden success following Nirvana’s breakout and the ensuing boom for California punk bands like Green Day and Rancid in the early 1990s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burkett, known universally as “Fat Mike,” credits the band’s longevity to the fact that none of the members ever thought they’d make any money, and because they remained independent.\u003c/p>\n\u003cp>“Why did kids like listening to punk rock? Because it was secret music,” he said. “That’s why we never went to a major label. If everybody likes it, it’s no fun to like.”\u003c/p>\n\u003cp>Burkett doesn’t apologize for his blunt descriptions in the books of his forays into bondage, bodily fluids and other fetishism. That’s in keeping with the overall approach of the band, he said.\u003c/p>\n\u003cp>“You’ve always got to push. You’ve got to do things different than what’s been done,” Burkett said. “Other bands don’t want to offend audiences. I love offending audiences.”\u003c/p>\n\u003cp>Still, Burkett was shaken by the November attacks by Islamic extremists that left 89 people dead at an Eagles of Death Metal show at a Paris venue where NOFX has played before.\u003c/p>\n\u003cp>“I’m the cross-dressing Jew pervert, singing songs against all religions,” Burkett said. “We’ve always kept going with lyrics that are totally anti-social and not accepted. But now there’s people that will kill you for that.”\u003c/p>\n\u003cp>The band has since ramped up security for its European shows, hiring a former Navy SEAL to coordinate protection for the band.\u003c/p>\n\u003cp>In the book, amusing stories like the inadvertent theft of the Red Hot Chili Peppers’ stage costumes are balanced with darker memories. For example, guitarist Melvin for the first time discloses to bandmates, family and the public that he was sexually abused by a schoolmate’s father as a child.\u003c/p>\n\u003cp>“For years I just kept it inside, not talking about it,” said Melvin. “People are afraid for many different reasons to talk about it — and what you need to do is talk about it and to sort it out.”\u003c/p>\n\u003cp>Drummer Sandin and band mates candidly discuss their struggles to cope with his worsening heroin addiction, followed by his successful effort to quit taking drugs even as his bandmates continue to revel in mind-altering substances.\u003c/p>\n\u003cp>“They gave me the ultimatum that I either needed to get sober or I was going to die for sure,” Sandlin said. “So I got sober and I got clean, and now I’m on the outs because they’re partying and I’m kind of to myself.”\u003c/p>\n\u003cp>“But I’m happy where I’m at,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The coming relaunch of the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> has lots of people buzzing in anticipation. But downtown San Francisco is not the only place where truly exciting things are happening on the visual arts front.\u003c/p>\n\u003cp>Super-star artist \u003ca href=\"http://jamesturrell.com/about/introduction/\">James Turrell\u003c/a>, for instance, is touching down in Palo Alto with a pocket-sized exhibition this week, ahead of the re-opening of a \u003ca href=\"http://www.lacma.org/art/exhibition/james-turrell-breathing-light\">major retrospective\u003c/a> of his work at The Los Angeles County Museum of Art in late May.\u003c/p>\n\u003cp>Turrell is famous for his meditations on light and space that play with your depth perception. Take the most eye-catching piece in the inaugural show at the newly opened Pace Gallery in Palo Alto. \u003ca href=\"https://www.artsy.net/artwork/james-turrell-pelee\">\u003cem>Pelée \u003c/em>\u003c/a>is a curvaceous LED screen that looks like a window — or really, more like an opening in the wall to another world.\u003c/p>\n\u003cp>“You’ll see reds, and that can fade into other colors,” says Pace Palo Alto President Elizabeth Sullivan. “It’s just beautiful, mesmerizing, really meditative in a way.”\u003c/p>\n\u003cp>Sullivan figures the most casual passer-by will be entranced by the light of the artwork spilling out onto the street. Even those unfamiliar with Turrell’s work may have been exposed by Drake’s video for “Hotline Bling,” albeit without Turrell’s consent: his work was ripped off. (For the record, Turrell has reportedly said he’s \u003ca href=\"http://www.theguardian.com/artanddesign/2015/nov/11/james-turrell-more-people-have-heard-of-me-through-drake-than-anything-else\">not that irked\u003c/a> by the hip hop artist’s co-option of his art.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=uxpDa-c-4Mc]\u003c/p>\n\u003cp>Pace, which has represented Turrell for years, is a bit of an art world celebrity, too. The global art gallery empire, based in New York with four galleries there, maintains outposts in London, Paris, Beijing and Hong Kong.\u003c/p>\n\u003cp>Sullivan won’t say why Pace picked Palo Alto over more obvious choices like San Francisco or Los Angeles. But the local community is happy about the choice. “People in the art world are so excited that Pace would choose to come to Silicon Valley,” says Cathy Kimball, executive director of the \u003ca href=\"http://sjica.org/\">San Jose Institute of Contemporary Art\u003c/a>.\u003c/p>\n\u003cp>Pace started on the Peninsula with a “pop-up” gallery in Menlo Park in a converted Tesla showroom, slated for demolition sometime next year. There were a handful of solid exhibitions featuring names like Alexander Calder and Tara Donovan. Then came a blockbuster by a Japanese group called \u003ca href=\"https://www.team-lab.net/\">teamlab\u003c/a>, which makes ancient Japanese art come alive in floor-to-ceiling digital animations.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=l9IwS1QkZXk]\u003c/p>\n\u003cp>From her vantage point to the south, Kimball looked on with some envy as Pace drew in 45,000 people in less than three months. “That teamlab animation is something to marvel at,” Kimball says. “It’s immersive. It’s so animated. There’s so much to look at.”\u003c/p>\n\u003cp>Kimball insists she’s not really feeling competitive with Pace, though she wishes her organization had resources more in line with the shiny new neighbor up the road. “Pace certainly has a kick ass team,” Kimball says. “They also have a kick ass budget. There aren’t a lot of us who can mount a Turrell show or a teamlab show in the degree that they did in Menlo Park.”\u003c/p>\n\u003cp>Pace is not the only big art muscle flexing on the Peninsula. In the last five years, Stanford has built an entire “arts district” in the heart of its campus. The site includes a new museum next to the Cantor Arts Center built to house the personal collection of one local family, the \u003ca href=\"https://anderson.stanford.edu/about/the-andersons/\">Andersons\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11528236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11528236 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-800x533.jpg\" alt=\"A room at Stanford's Anderson Collection. From left to right: "Timeless Clock," by David Smith (1957); "Lucifer" by Jackson Pollack (1947); "Transfiguration III" by Adolph Gottlieb (1958); and "Figure 8" by Franz Kline (1952).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A room at Stanford’s Anderson Collection. From left to right: “Timeless Clock,” by David Smith (1957); “Lucifer” by Jackson Pollack (1947); “Transfiguration III” by Adolph Gottlieb (1958); and “Figure 8” by Franz Kline (1952). \u003ccite>(Photo: Courtesy of Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent Saturday, a group of curators, gallery owners, collection managers, and other visual arts professionals took a private tour of the museum. The tour was put together by the local chapter of \u003ca href=\"http://www.arttable.org/\">Art Table\u003c/a>, a non-profit that usually organizes special events like this one \u003cspan style=\"background: white\">in San Francisco and the East Bay. \u003c/span>\u003c/p>\n\u003cp>[contextly_sidebar id=”pyeWbiln5qLQqPk75byBZVha284Cg9A0″]But that’s changing, says chapter co-chair Kathy Kenyon. “I think it’s real exciting what they’re doing here with this whole arts section, with the \u003ca href=\"https://anderson.stanford.edu/\">Anderson Collection\u003c/a>, and bringing over the art department so that it is directly connected with the museums here is a huge thing,” Kenyon says. And all of Stanford’s art collection is available to the public for free.\u003c/p>\n\u003cp>There’s more to the scene than the high profile glamour of Stanford and Pace. Municipalities on the Peninsula are also doing a fair bit to nurture local talent. A number of them, including \u003ca href=\"http://ww2.kqed.org/arts/2016/03/15/redwood-city-sidewalk-stencils-draw-your-eyes-to-your-feet/\">Redwood City\u003c/a>, commission and exhibit local artists. Palo Alto goes a step further, providing \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/studios/default.asp\">studio space\u003c/a> for \u003ca href=\"http://cubberleyartists.com/\">25 artists\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11528485\" class=\"wp-caption aligncenter\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528485\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-478x600.jpg\" alt=\""Ribosome Metamorphosis," by chemist-turned-artist Michal Gavish (2016). She's one of the artists who's benefited from Palo Alto's city-sponsored, affordable studio space.\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-400x502.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut.jpg 600w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">“Ribosome Metamorphosis,” by chemist-turned-artist Michal Gavish (2016). She’s one of the artists who’s benefited from Palo Alto’s city-sponsored, affordable studio space. \u003ccite>(Photo: Courtesy of Michal Gavish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Artists and arts groups can be considered here an endangered species,” says Rhyena Halpern, who oversees the city’s public investment in the arts as assistant director of Palo Alto’s \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/\">Community Services Department\u003c/a>. “Because the cost of living is so high, and the cost of doing business is so high.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the very same economic boom has created more people in a position to invest in art. Pace, Halpern says, could well be the harbinger of things to come. “That they took this risk to come here to see what they could do, see if there was a collector base they could tap into: very smart,” Halpern says. “But what it gives the community in return is this amazing access. You know, down the street. It’s incredible!”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coming relaunch of the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> has lots of people buzzing in anticipation. But downtown San Francisco is not the only place where truly exciting things are happening on the visual arts front.\u003c/p>\n\u003cp>Super-star artist \u003ca href=\"http://jamesturrell.com/about/introduction/\">James Turrell\u003c/a>, for instance, is touching down in Palo Alto with a pocket-sized exhibition this week, ahead of the re-opening of a \u003ca href=\"http://www.lacma.org/art/exhibition/james-turrell-breathing-light\">major retrospective\u003c/a> of his work at The Los Angeles County Museum of Art in late May.\u003c/p>\n\u003cp>Turrell is famous for his meditations on light and space that play with your depth perception. Take the most eye-catching piece in the inaugural show at the newly opened Pace Gallery in Palo Alto. \u003ca href=\"https://www.artsy.net/artwork/james-turrell-pelee\">\u003cem>Pelée \u003c/em>\u003c/a>is a curvaceous LED screen that looks like a window — or really, more like an opening in the wall to another world.\u003c/p>\n\u003cp>“You’ll see reds, and that can fade into other colors,” says Pace Palo Alto President Elizabeth Sullivan. “It’s just beautiful, mesmerizing, really meditative in a way.”\u003c/p>\n\u003cp>Sullivan figures the most casual passer-by will be entranced by the light of the artwork spilling out onto the street. Even those unfamiliar with Turrell’s work may have been exposed by Drake’s video for “Hotline Bling,” albeit without Turrell’s consent: his work was ripped off. (For the record, Turrell has reportedly said he’s \u003ca href=\"http://www.theguardian.com/artanddesign/2015/nov/11/james-turrell-more-people-have-heard-of-me-through-drake-than-anything-else\">not that irked\u003c/a> by the hip hop artist’s co-option of his art.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uxpDa-c-4Mc'\n title='//www.youtube.com/embed/uxpDa-c-4Mc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Pace, which has represented Turrell for years, is a bit of an art world celebrity, too. The global art gallery empire, based in New York with four galleries there, maintains outposts in London, Paris, Beijing and Hong Kong.\u003c/p>\n\u003cp>Sullivan won’t say why Pace picked Palo Alto over more obvious choices like San Francisco or Los Angeles. But the local community is happy about the choice. “People in the art world are so excited that Pace would choose to come to Silicon Valley,” says Cathy Kimball, executive director of the \u003ca href=\"http://sjica.org/\">San Jose Institute of Contemporary Art\u003c/a>.\u003c/p>\n\u003cp>Pace started on the Peninsula with a “pop-up” gallery in Menlo Park in a converted Tesla showroom, slated for demolition sometime next year. There were a handful of solid exhibitions featuring names like Alexander Calder and Tara Donovan. Then came a blockbuster by a Japanese group called \u003ca href=\"https://www.team-lab.net/\">teamlab\u003c/a>, which makes ancient Japanese art come alive in floor-to-ceiling digital animations.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/l9IwS1QkZXk'\n title='//www.youtube.com/embed/l9IwS1QkZXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>From her vantage point to the south, Kimball looked on with some envy as Pace drew in 45,000 people in less than three months. “That teamlab animation is something to marvel at,” Kimball says. “It’s immersive. It’s so animated. There’s so much to look at.”\u003c/p>\n\u003cp>Kimball insists she’s not really feeling competitive with Pace, though she wishes her organization had resources more in line with the shiny new neighbor up the road. “Pace certainly has a kick ass team,” Kimball says. “They also have a kick ass budget. There aren’t a lot of us who can mount a Turrell show or a teamlab show in the degree that they did in Menlo Park.”\u003c/p>\n\u003cp>Pace is not the only big art muscle flexing on the Peninsula. In the last five years, Stanford has built an entire “arts district” in the heart of its campus. The site includes a new museum next to the Cantor Arts Center built to house the personal collection of one local family, the \u003ca href=\"https://anderson.stanford.edu/about/the-andersons/\">Andersons\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11528236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11528236 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-800x533.jpg\" alt=\"A room at Stanford's Anderson Collection. From left to right: "Timeless Clock," by David Smith (1957); "Lucifer" by Jackson Pollack (1947); "Transfiguration III" by Adolph Gottlieb (1958); and "Figure 8" by Franz Kline (1952).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A room at Stanford’s Anderson Collection. From left to right: “Timeless Clock,” by David Smith (1957); “Lucifer” by Jackson Pollack (1947); “Transfiguration III” by Adolph Gottlieb (1958); and “Figure 8” by Franz Kline (1952). \u003ccite>(Photo: Courtesy of Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent Saturday, a group of curators, gallery owners, collection managers, and other visual arts professionals took a private tour of the museum. The tour was put together by the local chapter of \u003ca href=\"http://www.arttable.org/\">Art Table\u003c/a>, a non-profit that usually organizes special events like this one \u003cspan style=\"background: white\">in San Francisco and the East Bay. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>But that’s changing, says chapter co-chair Kathy Kenyon. “I think it’s real exciting what they’re doing here with this whole arts section, with the \u003ca href=\"https://anderson.stanford.edu/\">Anderson Collection\u003c/a>, and bringing over the art department so that it is directly connected with the museums here is a huge thing,” Kenyon says. And all of Stanford’s art collection is available to the public for free.\u003c/p>\n\u003cp>There’s more to the scene than the high profile glamour of Stanford and Pace. Municipalities on the Peninsula are also doing a fair bit to nurture local talent. A number of them, including \u003ca href=\"http://ww2.kqed.org/arts/2016/03/15/redwood-city-sidewalk-stencils-draw-your-eyes-to-your-feet/\">Redwood City\u003c/a>, commission and exhibit local artists. Palo Alto goes a step further, providing \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/studios/default.asp\">studio space\u003c/a> for \u003ca href=\"http://cubberleyartists.com/\">25 artists\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11528485\" class=\"wp-caption aligncenter\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528485\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-478x600.jpg\" alt=\""Ribosome Metamorphosis," by chemist-turned-artist Michal Gavish (2016). She's one of the artists who's benefited from Palo Alto's city-sponsored, affordable studio space.\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-400x502.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut.jpg 600w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">“Ribosome Metamorphosis,” by chemist-turned-artist Michal Gavish (2016). She’s one of the artists who’s benefited from Palo Alto’s city-sponsored, affordable studio space. \u003ccite>(Photo: Courtesy of Michal Gavish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Artists and arts groups can be considered here an endangered species,” says Rhyena Halpern, who oversees the city’s public investment in the arts as assistant director of Palo Alto’s \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/\">Community Services Department\u003c/a>. “Because the cost of living is so high, and the cost of doing business is so high.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the very same economic boom has created more people in a position to invest in art. Pace, Halpern says, could well be the harbinger of things to come. “That they took this risk to come here to see what they could do, see if there was a collector base they could tap into: very smart,” Halpern says. “But what it gives the community in return is this amazing access. You know, down the street. It’s incredible!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "CubaCaribe Festival Takes Stock a Year into the 'Great Cuban Thaw'",
"headTitle": "CubaCaribe Festival Takes Stock a Year into the ‘Great Cuban Thaw’ | KQED",
"content": "\u003cp>The annual \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">CubaCaribe dance festival\u003c/a> hit Oakland last weekend, with its “Cuba on my mind” theme for 2016 arriving presciently a year into the Great Cuban Thaw. It’s also been barely a month since Barack Obama’s historic visit to Havana, in the aftermath of which Fidel Castro groused, “we do not need the empire to give us anything.”\u003c/p>\n\u003cp>But it’s safe to say the “empire” itself has greatly benefited from the Cuban diaspora. The vibrant Caribbean music and dance scene in the San Francisco Bay Area attests to the longstanding search by Cuban artists and others from nearby islands for freedom of expression and collaboration opportunities. Cuban ballet dancers, for example, continue to defect to the west, and many of them end up in the Bay Area. As Joan Acocella noted in \u003ca href=\"http://www.newyorker.com/culture/cultural-comment/growing-pains-in-cuban-dance\" target=\"_blank\" rel=\"noopener\">a column last year\u003c/a> for \u003cem>The New Yorker\u003c/em> about the potential impact of the loosening of the trade and travel embargo on “the island’s most important artistic exports, music and dance,” these talented performers crave the modern, often experimental, repertory that is not permitted to flourish in authoritarian soil.\u003c/p>\n\u003cp>The three choreographers represented in the second weekend of the CubaCaribe festival riff on the “Cuba on my mind” theme with imaginative results. Revolution – in some form – is definitely on their minds.\u003c/p>\n\u003cfigure id=\"attachment_11528228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528228\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/EJF_7359-800x514.jpg\" alt=\"George Cheng (on the floor) with singers Rashida Chase and Valerie Troutt in Nicole Klaymoon's ‘Chalk Outlines’\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-1180x758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-1920x1234.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-960x617.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Cheng (on the floor) with singers Rashida Chase and Valerie Troutt in Nicole Klaymoon’s ‘Chalk Outlines (Excerpts)’ \u003ccite>(Photo: Eli Jacobs Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Chalk Outlines (Excerpts)\u003c/em>, a dance, poetry, vocal music, and theater piece created in response to deaths of non-whites as a result of police violence from choreographer Nicole Klaymoon’s \u003ca href=\"http://www.embodimentproject.org/\" target=\"_blank\" rel=\"noopener\">Embodiment Project\u003c/a>, commanding vocalists Valerie Troutt and Rashida Chase sing of Africa, “the mother of civilization,” and invoke Moses (“go tell Pharaoh/let my people go.”) The dancers, all in spanking white, perform crisp and ebullient street dance-style moves, tracing the shapes of corpses with their own bodies. Do we acknowledge the individual humanity of the victims of oppression, Klaymoon seems to be asking with this work, or are they just statistics and chalk outlines at a crime scene?\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 113939924 w=640&h=360]\u003c/aside>\n\u003cp>With her work \u003cem>Gracias A La Vida\u003c/em>, guest choreographer Krissy Keefer assembles a soundtrack of protest songs from Cuba, Peru, and Argentina, alongside tracks well known to U.S. audiences like Nina Simone’s “Mississippi Goddam,” Neil Young’s “Southern Man,” and Marvin Gaye’s “What’s Going On.” In Keefer’s setting of the music, six dancers from the Alayo Dance Company wield wooden stools and a bracing contemporary dance vocabulary in their evolution from prisoners to freedom fighters, egged on by an impeccable ensemble of musicians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, CubaCaribe festival founder Ramón Ramos Alayo’s powerful, grounded, African-inspired movement evokes an astonishing meditation on such themes as the dehumanizing side of technology, the complex nature of transitions, and the fragility of the artistic soul, in three short pieces that bookend the program.\u003c/p>\n\u003cp>\u003cem>Where the Butterflies go (A Donde Van Las Mariposas)\u003c/em> identifies the artist with nature’s most fragile and short-lived creatures, darting above a rippling stream that provides essential nourishment. \u003cem>24/7\u003c/em> puts Ramos Ayala’s dancers in an urban setting, where bird calls are drowned out by the static, buzzing, and ringing of phones. Prisoners of invisible handheld devices, the dancers wear tortured, sleep-deprived stares and strut like robots. As the people of Cuba clamor for technology to underpin a new economic order, \u003cem>24/7\u003c/em> seems to warn against buying into a tech-utopian idyll.\u003c/p>\n\u003cfigure id=\"attachment_11528226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528226\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/EJF_6954-800x533.jpg\" alt=\"Ramón Ramos Alayo and Natalie Aceves in Ramón Ramos Alayo's ‘Where the Butterflies Go / A Donde Van las Mariposas’\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramón Ramos Alayo and Natalie Aceves in Ramón Ramos Alayo’s ‘Where the Butterflies Go / A Donde Van las Mariposas’ \u003ccite>(Photo: Eli Jacobs Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the melancholy but gripping \u003cem>Goodbye\u003c/em>. Enveloped in a swirl of turquoise and a bright red manton, with a sexy cry in her voice, singer Destani Wolf, backed by a splendid trio of musicians, wanders the stage telling us through song that no one knows what tomorrow will bring. Ramos Alayo’s fluid, acrobatic dance moves underscore a resolve to live in the passion of the moment. One of several forceful alliances in this piece is a duet of sisterhood featuring dancers Fredrika Keefer and Jillian Hibbert. Their bond is a glorious mixture of abandon and control that promises shelter in an era of instability and transience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The third and final weekend of the festival moves to San Francisco’s Brava Theater on Friday, Apr. 29 and Saturday, Apr. 30 and promises more of a folkloric bent, with Haitian dance, capoeira, samba de gafieira, and more on the schedule. The festival is also offering dance workshops, and a screening of the documentary \u003cem>They are We\u003c/em> (on Thursday, Apr. 28 at the Museum of the African Disapora) which recounts how an African clan, riven by the slave trade 170 years ago, is reunited through its tribal music. Details on CubaCaribe’s \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">website\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The annual \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">CubaCaribe dance festival\u003c/a> hit Oakland last weekend, with its “Cuba on my mind” theme for 2016 arriving presciently a year into the Great Cuban Thaw. It’s also been barely a month since Barack Obama’s historic visit to Havana, in the aftermath of which Fidel Castro groused, “we do not need the empire to give us anything.”\u003c/p>\n\u003cp>But it’s safe to say the “empire” itself has greatly benefited from the Cuban diaspora. The vibrant Caribbean music and dance scene in the San Francisco Bay Area attests to the longstanding search by Cuban artists and others from nearby islands for freedom of expression and collaboration opportunities. Cuban ballet dancers, for example, continue to defect to the west, and many of them end up in the Bay Area. As Joan Acocella noted in \u003ca href=\"http://www.newyorker.com/culture/cultural-comment/growing-pains-in-cuban-dance\" target=\"_blank\" rel=\"noopener\">a column last year\u003c/a> for \u003cem>The New Yorker\u003c/em> about the potential impact of the loosening of the trade and travel embargo on “the island’s most important artistic exports, music and dance,” these talented performers crave the modern, often experimental, repertory that is not permitted to flourish in authoritarian soil.\u003c/p>\n\u003cp>The three choreographers represented in the second weekend of the CubaCaribe festival riff on the “Cuba on my mind” theme with imaginative results. Revolution – in some form – is definitely on their minds.\u003c/p>\n\u003cfigure id=\"attachment_11528228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528228\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/EJF_7359-800x514.jpg\" alt=\"George Cheng (on the floor) with singers Rashida Chase and Valerie Troutt in Nicole Klaymoon's ‘Chalk Outlines’\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-1180x758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-1920x1234.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-960x617.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Cheng (on the floor) with singers Rashida Chase and Valerie Troutt in Nicole Klaymoon’s ‘Chalk Outlines (Excerpts)’ \u003ccite>(Photo: Eli Jacobs Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Chalk Outlines (Excerpts)\u003c/em>, a dance, poetry, vocal music, and theater piece created in response to deaths of non-whites as a result of police violence from choreographer Nicole Klaymoon’s \u003ca href=\"http://www.embodimentproject.org/\" target=\"_blank\" rel=\"noopener\">Embodiment Project\u003c/a>, commanding vocalists Valerie Troutt and Rashida Chase sing of Africa, “the mother of civilization,” and invoke Moses (“go tell Pharaoh/let my people go.”) The dancers, all in spanking white, perform crisp and ebullient street dance-style moves, tracing the shapes of corpses with their own bodies. Do we acknowledge the individual humanity of the victims of oppression, Klaymoon seems to be asking with this work, or are they just statistics and chalk outlines at a crime scene?\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, CubaCaribe festival founder Ramón Ramos Alayo’s powerful, grounded, African-inspired movement evokes an astonishing meditation on such themes as the dehumanizing side of technology, the complex nature of transitions, and the fragility of the artistic soul, in three short pieces that bookend the program.\u003c/p>\n\u003cp>\u003cem>Where the Butterflies go (A Donde Van Las Mariposas)\u003c/em> identifies the artist with nature’s most fragile and short-lived creatures, darting above a rippling stream that provides essential nourishment. \u003cem>24/7\u003c/em> puts Ramos Ayala’s dancers in an urban setting, where bird calls are drowned out by the static, buzzing, and ringing of phones. Prisoners of invisible handheld devices, the dancers wear tortured, sleep-deprived stares and strut like robots. As the people of Cuba clamor for technology to underpin a new economic order, \u003cem>24/7\u003c/em> seems to warn against buying into a tech-utopian idyll.\u003c/p>\n\u003cfigure id=\"attachment_11528226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528226\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/EJF_6954-800x533.jpg\" alt=\"Ramón Ramos Alayo and Natalie Aceves in Ramón Ramos Alayo's ‘Where the Butterflies Go / A Donde Van las Mariposas’\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramón Ramos Alayo and Natalie Aceves in Ramón Ramos Alayo’s ‘Where the Butterflies Go / A Donde Van las Mariposas’ \u003ccite>(Photo: Eli Jacobs Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the melancholy but gripping \u003cem>Goodbye\u003c/em>. Enveloped in a swirl of turquoise and a bright red manton, with a sexy cry in her voice, singer Destani Wolf, backed by a splendid trio of musicians, wanders the stage telling us through song that no one knows what tomorrow will bring. Ramos Alayo’s fluid, acrobatic dance moves underscore a resolve to live in the passion of the moment. One of several forceful alliances in this piece is a duet of sisterhood featuring dancers Fredrika Keefer and Jillian Hibbert. Their bond is a glorious mixture of abandon and control that promises shelter in an era of instability and transience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The third and final weekend of the festival moves to San Francisco’s Brava Theater on Friday, Apr. 29 and Saturday, Apr. 30 and promises more of a folkloric bent, with Haitian dance, capoeira, samba de gafieira, and more on the schedule. The festival is also offering dance workshops, and a screening of the documentary \u003cem>They are We\u003c/em> (on Thursday, Apr. 28 at the Museum of the African Disapora) which recounts how an African clan, riven by the slave trade 170 years ago, is reunited through its tribal music. Details on CubaCaribe’s \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">website\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thought you were done being \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/lets-go-crazy-prince-and-the-subversive-power-of-party-music/\">emotional about Prince\u003c/a>? Not so fast.\u003c/p>\n\u003cp>D'Angelo, whose progressive, eclectic blend of soul, funk and R&B owes a tremendous debt to Prince's influence -- he's\u003ca href=\"http://daily.redbullmusicacademy.com/2014/12/dangelo-black-messiah-inspirations-interview\"> said as much in interviews for years\u003c/a> -- appeared on \u003cem>The Tonight Show \u003c/em>on April 26 to pay tribute to the icon.\u003c/p>\n\u003cp>https://twitter.com/questlove/status/725182139910754304\u003c/p>\n\u003cp>Performing a beautiful rendition of the Prince ballad \"Sometimes It Snows In April,\" D'Angelo had the support of \u003ca href=\"http://www.werprincess.com/#princess\">Princess\u003c/a>, the Prince tribute band comprised of comedian Maya Rudolph and singer-songwriter Gretchen Lieberum.\u003c/p>\n\u003cp>But aside from their voices, D'Angelo is alone in a spotlight at the piano, dressed in a vest that would have made his musical hero proud. So it's all the more heartbreaking when his voice begins to crack with emotion near the end of the song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6uzBHhPEWpE\u003c/p>\n\u003cp>One take-away: In case there was any doubt, real men definitely cry. And also: We're really lucky to have D'Angelo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Performing a beautiful rendition of the Prince ballad \"Sometimes It Snows In April,\" D'Angelo had the support of \u003ca href=\"http://www.werprincess.com/#princess\">Princess\u003c/a>, the Prince tribute band comprised of comedian Maya Rudolph and singer-songwriter Gretchen Lieberum.\u003c/p>\n\u003cp>But aside from their voices, D'Angelo is alone in a spotlight at the piano, dressed in a vest that would have made his musical hero proud. So it's all the more heartbreaking when his voice begins to crack with emotion near the end of the song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Prince’s longtime lawyer called the death of the superstar a complete shock and said Monday that the singer lived a clean and healthy lifestyle, disputing suggestions that he had a drug addiction.\u003c/p>\n\u003cp>Prince was found dead in Paisley Park, his home and vast recording studio in Chanhassen, Minnesota, on Thursday at the age of 57. An autopsy was conducted, but complete results won’t be in for weeks. Police have said there was no indication of suicide.\u003c/p>\n\u003cp>Lawyer L. Londell McMillan had known Prince for 25 years and at one time was his manager. In a phone interview Monday night, he told The Associated Press he spoke to Prince the Sunday before he died, after it was reported that his plane made an emergency landing to deal with a medical emergency involving the singer.\u003c/p>\n\u003cp>Prince assured McMillan he was fine.\u003c/p>\n\u003cp>“He said he was doing perfect,” McMillan recalled. “He said, ‘OK, I’ll call you soon.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Celebrity website TMZ, citing unidentified sources, reported that Prince was treated for an overdose of the powerful painkiller Percocet while traveling home from concerts in Atlanta last week. The site said his plane made an emergency landing April 15 in Moline, Illinois, where he was briefly hospitalized. Prince had postponed concerts in Atlanta citing an illness but rescheduled them and performed there April 14.\u003c/p>\n\u003cp>Asked about the TMZ report, McMillan said that while Prince may have been in pain and may have taken medication from time to time, he was “not on any drugs that would be any cause for concern.”\u003c/p>\n\u003cp>“People use medication. The question is, are you on meds in a dangerous way?” he said.\u003c/p>\n\u003cp>McMillan noted that Prince, a vegan, was known for his clean lifestyle.\u003c/p>\n\u003cp>“Everybody who knows Prince knows he wasn’t walking around drugged up,” McMillan said. “That’s foolish. No one ever saw Prince and said, ‘He looks high.’ It wasn’t what he was about.”\u003c/p>\n\u003cp>McMillan also said Prince was in great spirits.\u003c/p>\n\u003cp>“Prince had an amazing life. He enjoyed life,” he said. “He had a lot of fun.”\u003c/p>\n\u003cp>McMillan, whose clients also included Michael Jackson, said he owed his career to Prince. He managed the star amid Prince’s battles with his label, Warner Bros. Records. Prince credited him with coming up with the title “The Artist” when he stopped using his name and took on a symbol instead as part of that battle.\u003c/p>\n\u003cp>“I’m shocked and overwhelmed,” McMillan said of Prince’s death.\u003c/p>\n\u003cp>He was among those present for a private and intimate memorial service at Paisley Park on Saturday. Prince was cremated.\u003c/p>\n\u003cp>“It was a very loving and special, solemn and very appreciative,” McMillan said. “I think he would have been proud of how we celebrated his life.”\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>Prince’s longtime lawyer called the death of the superstar a complete shock and said Monday that the singer lived a clean and healthy lifestyle, disputing suggestions that he had a drug addiction.\u003c/p>\n\u003cp>Prince was found dead in Paisley Park, his home and vast recording studio in Chanhassen, Minnesota, on Thursday at the age of 57. An autopsy was conducted, but complete results won’t be in for weeks. Police have said there was no indication of suicide.\u003c/p>\n\u003cp>Lawyer L. Londell McMillan had known Prince for 25 years and at one time was his manager. In a phone interview Monday night, he told The Associated Press he spoke to Prince the Sunday before he died, after it was reported that his plane made an emergency landing to deal with a medical emergency involving the singer.\u003c/p>\n\u003cp>Prince assured McMillan he was fine.\u003c/p>\n\u003cp>“He said he was doing perfect,” McMillan recalled. “He said, ‘OK, I’ll call you soon.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Celebrity website TMZ, citing unidentified sources, reported that Prince was treated for an overdose of the powerful painkiller Percocet while traveling home from concerts in Atlanta last week. The site said his plane made an emergency landing April 15 in Moline, Illinois, where he was briefly hospitalized. Prince had postponed concerts in Atlanta citing an illness but rescheduled them and performed there April 14.\u003c/p>\n\u003cp>Asked about the TMZ report, McMillan said that while Prince may have been in pain and may have taken medication from time to time, he was “not on any drugs that would be any cause for concern.”\u003c/p>\n\u003cp>“People use medication. The question is, are you on meds in a dangerous way?” he said.\u003c/p>\n\u003cp>McMillan noted that Prince, a vegan, was known for his clean lifestyle.\u003c/p>\n\u003cp>“Everybody who knows Prince knows he wasn’t walking around drugged up,” McMillan said. “That’s foolish. No one ever saw Prince and said, ‘He looks high.’ It wasn’t what he was about.”\u003c/p>\n\u003cp>McMillan also said Prince was in great spirits.\u003c/p>\n\u003cp>“Prince had an amazing life. He enjoyed life,” he said. “He had a lot of fun.”\u003c/p>\n\u003cp>McMillan, whose clients also included Michael Jackson, said he owed his career to Prince. He managed the star amid Prince’s battles with his label, Warner Bros. Records. Prince credited him with coming up with the title “The Artist” when he stopped using his name and took on a symbol instead as part of that battle.\u003c/p>\n\u003cp>“I’m shocked and overwhelmed,” McMillan said of Prince’s death.\u003c/p>\n\u003cp>He was among those present for a private and intimate memorial service at Paisley Park on Saturday. Prince was cremated.\u003c/p>\n\u003cp>“It was a very loving and special, solemn and very appreciative,” McMillan said. “I think he would have been proud of how we celebrated his life.”\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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"title": "Meet Mason Bates — The Man Behind Steve Jobs the Opera",
"headTitle": "Meet Mason Bates — The Man Behind Steve Jobs the Opera | KQED",
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/261228276″ 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>\u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a> writes most of his music in a light, airy home studio on the Peninsula with lots of glass and a view of San Francisco Bay through the trees.\u003c/p>\n\u003cp>But when I visited Bates a few weeks ago, he was working on a piece with a gloomy theme. “\u003cem>Auditorium\u003c/em> starts with the conceit that an orchestra, like a person, can be haunted,” the composer says. “It’s a piece for two orchestras. One that’s living and one that’s dead.”\u003c/p>\n\u003cp>Bates often works to expand the orchestra’s sound universe with electronic dance beats and audio samples. In\u003cem> Auditorium\u003c/em>, which will receive\u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Shostakovich-Symphony-No-9.aspx\" target=\"_blank\" rel=\"noopener\"> its world premiere performances from Wednesday, Apr. 27 – Friday, Apr. 29 in concerts with the San Francisco Symphony\u003c/a> at Davies Symphony Hall, Bates will play the laptop in the orchestra, triggering recordings he’s made of a baroque ensemble. “So when the orchestra — the living one — goes to tune, we hear this ghost kind of blow in, building almost a kind of Ouija board type of relationship,” Bates says.\u003c/p>\n\u003cp>\u003cstrong>High profile fans\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“His sense of mystery is tremendous,” says the San Francisco Symphony’s music director Michael Tilson Thomas. “There’s a sparkle of joy of life in Mason’s Bate’s music, along with his wonderful ear for harmony and musical gesture. He makes everything, sound lustrous.”\u003c/p>\n\u003cfigure id=\"attachment_11525587\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11525587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-600x600.jpg\" alt=\"Mason Bates: Works for Orchestra from the San Francisco Symphony\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra.jpg 920w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mason Bates: Works for Orchestra from the San Francisco Symphony \u003ccite>(Photo: Courtesy SFS Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bates says he works best at home in this studio. He uses both the old fashioned way of writing notes on a page with pencil and paper, as well as more modern tools that fill the room. “There’s the piano, and I’m often banging on that,” Bates says. “And over here among the synths and computer, that’s where I’ m creating the electronic sounds and integrating them into the pieces I’m writing.”\u003c/p>\n\u003cp>Bates says he likes composing especially because it means he can spend time with his wife, a molecular biologist, and their two young children. “I mean not at the same time, that would not work,” he says. “But you know I’m at home, I’m not traveling.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XrvyBCZ4cxc\u003c/p>\n\u003cp>Time at home for any purpose has been precious lately. Bates just started a gig as \u003ca href=\"https://www.kennedy-center.org/calendar/series/MBC\" target=\"_blank\" rel=\"noopener\">composer-in-residence at the Kennedy Center\u003c/a> in Washington D.C. There’s the San Francisco Symphony premiere, and he’s just finished two recording projects, one with the The San Francisco Symphony, and the other with The Boston Modern Orchestra Project. He’ll also be a composer-in residence at the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music \u003c/a>this summer in Santa Cruz, where he’ll work for the sixth time with Festival Director \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a>, a champion of Bates’ music.\u003c/p>\n\u003cp>“I think Mason is extraordinarily talented,” Alsop says. “I enjoy so much having him involved in the performances as well. Often he’s in the orchestra with his laptop, and his music resonates with audiences of today with younger audiences.”\u003c/p>\n\u003cp>\u003cstrong>A draw for younger audiences\u003c/strong>\u003c/p>\n\u003cp>That’s one reason Bates is in demand. Symphony orchestras around the world are worried about aging audiences and a shrinking music business. Composers like Bates up the cool factor. He sometimes DJ’s after-concert parties, and his compositions aren’t thickets of atonality, as with some modern composers: the electronica and dance beats he favors ride on familiar harmonies.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zhhbJ-9lpW0\u003c/p>\n\u003cp>“It’s a sound world that’s very very appealing,” Alsop says. “Some of it is pop oriented, some not. But it’s something everybody can relate to.”\u003c/p>\n\u003cp>\u003cstrong>Accessibility is important\u003c/strong>\u003c/p>\n\u003cp>A few critics and the occasional older audience member have knocked the pop harmonies and beats in some of Bates’ work. But the composer says he wants to be both accessible and something more. “If you want to go to a deep space, a deep listening experience, then you have to find a way to take the listener along with you,” Bates says.\u003c/p>\n\u003cp>Bates’ newest project is a \u003ca href=\"https://www.santafeopera.org/uploadedFiles/The_Company/News/News_Items/2015-08-05%20Santa%20Fe%20Opera%20Announces%20World%20Premiere.pdf\" target=\"_blank\" rel=\"noopener\">Santa Fe Opera commission for 2017\u003c/a>, written with librettist Mark Campbell, about Apple co-founder Steve Jobs. “What if in an opera about a guy who changed communication, everybody communicates through a sound world,” Bates says. “Maybe Steve Jobs has acoustic guitar and electronica, his wife has these oceanic strings, Woz [Apple co-founder Steve Wozniak] has saxophones. And when they’re all on stage together, worlds are colliding.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bates’ music for the opera includes a theme for Jobs’ spiritual adviser which is full of pulsing synthesizers and vibrating prayer bowls. “Storytelling is the idea that possesses me,” the composer says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“His sense of mystery is tremendous,” says the San Francisco Symphony’s music director Michael Tilson Thomas. “There’s a sparkle of joy of life in Mason’s Bate’s music, along with his wonderful ear for harmony and musical gesture. He makes everything, sound lustrous.”\u003c/p>\n\u003cfigure id=\"attachment_11525587\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11525587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-600x600.jpg\" alt=\"Mason Bates: Works for Orchestra from the San Francisco Symphony\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra.jpg 920w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mason Bates: Works for Orchestra from the San Francisco Symphony \u003ccite>(Photo: Courtesy SFS Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bates says he works best at home in this studio. He uses both the old fashioned way of writing notes on a page with pencil and paper, as well as more modern tools that fill the room. “There’s the piano, and I’m often banging on that,” Bates says. “And over here among the synths and computer, that’s where I’ m creating the electronic sounds and integrating them into the pieces I’m writing.”\u003c/p>\n\u003cp>Bates says he likes composing especially because it means he can spend time with his wife, a molecular biologist, and their two young children. “I mean not at the same time, that would not work,” he says. “But you know I’m at home, I’m not traveling.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XrvyBCZ4cxc'\n title='//www.youtube.com/embed/XrvyBCZ4cxc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Time at home for any purpose has been precious lately. Bates just started a gig as \u003ca href=\"https://www.kennedy-center.org/calendar/series/MBC\" target=\"_blank\" rel=\"noopener\">composer-in-residence at the Kennedy Center\u003c/a> in Washington D.C. There’s the San Francisco Symphony premiere, and he’s just finished two recording projects, one with the The San Francisco Symphony, and the other with The Boston Modern Orchestra Project. He’ll also be a composer-in residence at the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music \u003c/a>this summer in Santa Cruz, where he’ll work for the sixth time with Festival Director \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a>, a champion of Bates’ music.\u003c/p>\n\u003cp>“I think Mason is extraordinarily talented,” Alsop says. “I enjoy so much having him involved in the performances as well. Often he’s in the orchestra with his laptop, and his music resonates with audiences of today with younger audiences.”\u003c/p>\n\u003cp>\u003cstrong>A draw for younger audiences\u003c/strong>\u003c/p>\n\u003cp>That’s one reason Bates is in demand. Symphony orchestras around the world are worried about aging audiences and a shrinking music business. Composers like Bates up the cool factor. He sometimes DJ’s after-concert parties, and his compositions aren’t thickets of atonality, as with some modern composers: the electronica and dance beats he favors ride on familiar harmonies.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zhhbJ-9lpW0'\n title='//www.youtube.com/embed/zhhbJ-9lpW0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s a sound world that’s very very appealing,” Alsop says. “Some of it is pop oriented, some not. But it’s something everybody can relate to.”\u003c/p>\n\u003cp>\u003cstrong>Accessibility is important\u003c/strong>\u003c/p>\n\u003cp>A few critics and the occasional older audience member have knocked the pop harmonies and beats in some of Bates’ work. But the composer says he wants to be both accessible and something more. “If you want to go to a deep space, a deep listening experience, then you have to find a way to take the listener along with you,” Bates says.\u003c/p>\n\u003cp>Bates’ newest project is a \u003ca href=\"https://www.santafeopera.org/uploadedFiles/The_Company/News/News_Items/2015-08-05%20Santa%20Fe%20Opera%20Announces%20World%20Premiere.pdf\" target=\"_blank\" rel=\"noopener\">Santa Fe Opera commission for 2017\u003c/a>, written with librettist Mark Campbell, about Apple co-founder Steve Jobs. “What if in an opera about a guy who changed communication, everybody communicates through a sound world,” Bates says. “Maybe Steve Jobs has acoustic guitar and electronica, his wife has these oceanic strings, Woz [Apple co-founder Steve Wozniak] has saxophones. And when they’re all on stage together, worlds are colliding.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bates’ music for the opera includes a theme for Jobs’ spiritual adviser which is full of pulsing synthesizers and vibrating prayer bowls. “Storytelling is the idea that possesses me,” the composer says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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