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"content": "\u003cp>The nationally-recognized performing arts presenter \u003ca href=\"http://www.performances.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Performances\u003c/a> (SF Performances) named Melanie Smith as its new president on Tuesday.\u003c/p>\n\u003cp>Smith, 52, succeeds Ruth Felt, who founded the organization nearly 40 years ago and has led it ever since. Smith, who resides in El Cerrito, begins her new role at SF Performances in August.\u003c/p>\n\u003cfigure id=\"attachment_11565818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11565818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-800x533.jpg\" alt=\"Herbst Theatre, where SF Performances mounts most of its events\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbst Theatre, where SF Performances mounts most of its events\u003c/figcaption>\u003c/figure>\n\u003cp>Under Felt’s longstanding leadership, SF Performances became known as an acclaimed presenter of chamber music, piano, contemporary dance, guitar, vocal recitals, and jazz concerts featuring some of the most prominent artists in the world. The organization, which hosts most of its events at the \u003ca href=\"http://sfwmpac.org/herbst-theatre\" target=\"_blank\" rel=\"noopener\">Herbst Theatre\u003c/a> in San Francisco’s War Memorial and Performing Arts Center and has an annual operating budget of $3.2 million, has presided over the local recital debuts of the likes of cellist Yo-Yo Ma, violinist Anne-Sophie Mutter, and soprano Dawn Upshaw. Many of these globe-trotting artists have returned many times to perform under the auspices of SF Performances.\u003c/p>\n\u003cp>\u003cstrong>Business as usual\u003c/strong>\u003c/p>\n\u003cp>Felt has the 2016-17 season fully planned, and most of the 2017-18 season also mapped out. So Smith’s stamp on the arts offerings won’t fully come into play for at least another couple of years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the most part, the incoming president intends to continue building on what Felt did before her, both in terms of the programming choices, and the culture and feel of the organization.\u003c/p>\n\u003cp>“In a lot of ways I want to continue the amazing work that Ruth started,” Smith said in a phone interview. “This includes the less tangible stuff deriving from the warmth — artists come to feel they have a home here.”\u003c/p>\n\u003cp>\u003cstrong>Early music focus\u003c/strong>\u003c/p>\n\u003cp>Smith said the main way in which she hopes to differ from Felt’s curatorial approach is by focusing more attention on Medieval and Renaissance music — especially in smaller formats. As such, Smith said the lineup for future seasons might include concerts by solo lutenists and ensembles such as \u003ca href=\"http://tenet.nyc/\" target=\"_blank\" rel=\"noopener\">Tenet\u003c/a>, an up-and-coming, New York-based early music group. (Not to be confused with the Canadian heavy metal band of the same name.)\u003c/p>\n\u003cfigure id=\"attachment_11565885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11565885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SFP-RuthFelt-03_Photo-Terrence-McCarthy-e1462839745313-800x490.jpg\" alt=\"SF Performances founder and outgoing president Ruth Felt\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFP-RuthFelt-03_Photo-Terrence-McCarthy-e1462839745313-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFP-RuthFelt-03_Photo-Terrence-McCarthy-e1462839745313-400x245.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFP-RuthFelt-03_Photo-Terrence-McCarthy-e1462839745313-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFP-RuthFelt-03_Photo-Terrence-McCarthy-e1462839745313-1180x722.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFP-RuthFelt-03_Photo-Terrence-McCarthy-e1462839745313-960x588.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFP-RuthFelt-03_Photo-Terrence-McCarthy-e1462839745313.jpg 1495w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Performances founder and outgoing president Ruth Felt \u003ccite>(Photo: Terrence McCarthy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We may explore genres that haven’t necessarily been covered in depth historically at SF Performances, like early music,” Smith said. “We have great early music in the Bay Area from big groups like the \u003ca href=\"http://www.americanbach.org/\" target=\"_blank\" rel=\"noopener\">American Bach Soloists\u003c/a> and the \u003ca href=\"https://philharmonia.org/\" target=\"_blank\" rel=\"noopener\">Philharmonia Baroque Orchestra\u003c/a>. I’m considering a chamber version of that, which would overlap nicely with our existing guitar series.”\u003c/p>\n\u003cp>\u003cstrong>National search\u003c/strong>\u003c/p>\n\u003cp>SF Performances board of trustees and an independent recruitment consultancy selected Smith after undertaking a year-long national search to fill the organization’s top leadership position. Smith was a known quantity, having previously worked with the organization as its director of education/artistic administration for nine years from 1997 to 2006. She comes to her new position from the San Francisco Girls Chorus, where she’s served as executive director since 2006.\u003c/p>\n\u003cp>“Few people know the organization and the national performing arts scene as well as she does,” said Felt in a press release about Smith’s appointment. “She is widely respected and beloved by artists, arts organizations and the arts community.”\u003c/p>\n\u003cp>“Melanie is guided by a deep reverence for musical artistry and the role of the artist in our society and communities,” said Lisa Bielawa, artistic director of the San Francisco Girls’ Chorus in an email interview. “This passion will undoubtedly be evident to audiences, musical artists and colleagues alike.”\u003c/p>\n\u003cp>\u003cstrong>Founder succession challenge\u003c/strong>\u003c/p>\n\u003cp>But the new job will doubtless come with challenges. Smith is well aware of the potential difficulties of taking over an organization that has been founded and run by the same individual for such a long time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Founder succession is one of the trickiest things,” Smith said. “This was Ruth’s masterwork, and change can be tricky. I’m not planning anything radical but it’s still going to be different.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nationally-recognized performing arts presenter \u003ca href=\"http://www.performances.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Performances\u003c/a> (SF Performances) named Melanie Smith as its new president on Tuesday.\u003c/p>\n\u003cp>Smith, 52, succeeds Ruth Felt, who founded the organization nearly 40 years ago and has led it ever since. Smith, who resides in El Cerrito, begins her new role at SF Performances in August.\u003c/p>\n\u003cfigure id=\"attachment_11565818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11565818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-800x533.jpg\" alt=\"Herbst Theatre, where SF Performances mounts most of its events\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbst Theatre, where SF Performances mounts most of its events\u003c/figcaption>\u003c/figure>\n\u003cp>Under Felt’s longstanding leadership, SF Performances became known as an acclaimed presenter of chamber music, piano, contemporary dance, guitar, vocal recitals, and jazz concerts featuring some of the most prominent artists in the world. The organization, which hosts most of its events at the \u003ca href=\"http://sfwmpac.org/herbst-theatre\" target=\"_blank\" rel=\"noopener\">Herbst Theatre\u003c/a> in San Francisco’s War Memorial and Performing Arts Center and has an annual operating budget of $3.2 million, has presided over the local recital debuts of the likes of cellist Yo-Yo Ma, violinist Anne-Sophie Mutter, and soprano Dawn Upshaw. Many of these globe-trotting artists have returned many times to perform under the auspices of SF Performances.\u003c/p>\n\u003cp>\u003cstrong>Business as usual\u003c/strong>\u003c/p>\n\u003cp>Felt has the 2016-17 season fully planned, and most of the 2017-18 season also mapped out. So Smith’s stamp on the arts offerings won’t fully come into play for at least another couple of years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the most part, the incoming president intends to continue building on what Felt did before her, both in terms of the programming choices, and the culture and feel of the organization.\u003c/p>\n\u003cp>“In a lot of ways I want to continue the amazing work that Ruth started,” Smith said in a phone interview. “This includes the less tangible stuff deriving from the warmth — artists come to feel they have a home here.”\u003c/p>\n\u003cp>\u003cstrong>Early music focus\u003c/strong>\u003c/p>\n\u003cp>Smith said the main way in which she hopes to differ from Felt’s curatorial approach is by focusing more attention on Medieval and Renaissance music — especially in smaller formats. As such, Smith said the lineup for future seasons might include concerts by solo lutenists and ensembles such as \u003ca href=\"http://tenet.nyc/\" target=\"_blank\" rel=\"noopener\">Tenet\u003c/a>, an up-and-coming, New York-based early music group. (Not to be confused with the Canadian heavy metal band of the same name.)\u003c/p>\n\u003cfigure id=\"attachment_11565885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11565885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SFP-RuthFelt-03_Photo-Terrence-McCarthy-e1462839745313-800x490.jpg\" alt=\"SF Performances founder and outgoing president Ruth Felt\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFP-RuthFelt-03_Photo-Terrence-McCarthy-e1462839745313-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFP-RuthFelt-03_Photo-Terrence-McCarthy-e1462839745313-400x245.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFP-RuthFelt-03_Photo-Terrence-McCarthy-e1462839745313-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFP-RuthFelt-03_Photo-Terrence-McCarthy-e1462839745313-1180x722.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFP-RuthFelt-03_Photo-Terrence-McCarthy-e1462839745313-960x588.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SFP-RuthFelt-03_Photo-Terrence-McCarthy-e1462839745313.jpg 1495w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Performances founder and outgoing president Ruth Felt \u003ccite>(Photo: Terrence McCarthy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We may explore genres that haven’t necessarily been covered in depth historically at SF Performances, like early music,” Smith said. “We have great early music in the Bay Area from big groups like the \u003ca href=\"http://www.americanbach.org/\" target=\"_blank\" rel=\"noopener\">American Bach Soloists\u003c/a> and the \u003ca href=\"https://philharmonia.org/\" target=\"_blank\" rel=\"noopener\">Philharmonia Baroque Orchestra\u003c/a>. I’m considering a chamber version of that, which would overlap nicely with our existing guitar series.”\u003c/p>\n\u003cp>\u003cstrong>National search\u003c/strong>\u003c/p>\n\u003cp>SF Performances board of trustees and an independent recruitment consultancy selected Smith after undertaking a year-long national search to fill the organization’s top leadership position. Smith was a known quantity, having previously worked with the organization as its director of education/artistic administration for nine years from 1997 to 2006. She comes to her new position from the San Francisco Girls Chorus, where she’s served as executive director since 2006.\u003c/p>\n\u003cp>“Few people know the organization and the national performing arts scene as well as she does,” said Felt in a press release about Smith’s appointment. “She is widely respected and beloved by artists, arts organizations and the arts community.”\u003c/p>\n\u003cp>“Melanie is guided by a deep reverence for musical artistry and the role of the artist in our society and communities,” said Lisa Bielawa, artistic director of the San Francisco Girls’ Chorus in an email interview. “This passion will undoubtedly be evident to audiences, musical artists and colleagues alike.”\u003c/p>\n\u003cp>\u003cstrong>Founder succession challenge\u003c/strong>\u003c/p>\n\u003cp>But the new job will doubtless come with challenges. Smith is well aware of the potential difficulties of taking over an organization that has been founded and run by the same individual for such a long time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Founder succession is one of the trickiest things,” Smith said. “This was Ruth’s masterwork, and change can be tricky. I’m not planning anything radical but it’s still going to be different.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Arhoolie Records, the El Cerrito-based roots music label that released records from blues legends such as Big Mama Thornton, Lightnin’ Hopkins and Mississippi Fred McDowell, announced Tuesday that its catalog is being acquired by Smithsonian Folkways Recordings, the label run by the Smithsonian Museum.\u003c/p>\n\u003cp>In a press release, Arhoolie founder Chris Strachwitz, 90 years old, said that the sale is intended to ensure that the label’s 350 releases would continue to be available for the music-buying public after he passes.\u003c/p>\n\u003cp>“Since I’m not King Tut, I can’t take my Arhoolie baby with me. It was Moe Asch, founder of Folkways Records, who told me in so many words, ‘Chris, you’ve got to think about what you are going to do with all your stuff when you kick the bucket,'” Strachwitz wrote. “I am very pleased that Arhoolie has found a new home at the Smithsonian, where they are committed to keeping everything in print and available to the public by one method or another. It has been fun running Arhoolie Records for the past 55 years. I plan to continue to produce records and assist the staff at Smithsonian Folkways where I can.”\u003c/p>\n\u003cp>Strachwitz started Arhoolie Records in 1960 with goal of releasing records by obscure and sometimes forgotten artists, and Strachwitz would typically record the releases himself. He began with blues artists such as Mance Lipscomb and Big Joe Williams, but his label would expand to include zydeco, bluegrass and Tejano (Texas-based Mexican American music), among other genres.\u003c/p>\n\u003cp>The sale comes just weeks after Strachwitz was awarded a Grammy — the Trustees Award — for his work preserving the music of artists outside of popular culture. He was honored in a low-key ceremony along with songwriter Fred Foster and avant-garde composer John Cage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The purchase of Arhoolie was made possible by a large grant from Laura and Ed Littlefield of the Sage Foundation, who \u003ca href=\"http://www.nytimes.com/2016/05/11/arts/music/smithsonian-folkways-acquires-arhoolie-records-catalog.html\" target=\"_blank\" rel=\"noopener\">basically bought the label’s catalog\u003c/a> and handed it off to Smithsonian Folkways, leaving a 40 percent share for Strachwitz’s partner, Tom Diamant.\u003c/p>\n\u003cp>For independent label owners such as Scott Soriano, who runs the Sacramento-based SS Records, the Arhoolie sale was smart on Strachwitz’s part:\u003c/p>\n\u003cp>https://www.facebook.com/SORIANO.SS/posts/10154140781688695\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smithsonian Folkways Recordings began in 1987, the result of the museum buying the catalog of the Folkways label after its founder Moe Asch died the year before. Folkways, an influence on Strachwitz, recorded and released the work of Leadbelly (“In the Pines”), Woody Guthrie and the highly-influential \u003ci>Anthology of American Folk Music.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arhoolie Records, the El Cerrito-based roots music label that released records from blues legends such as Big Mama Thornton, Lightnin’ Hopkins and Mississippi Fred McDowell, announced Tuesday that its catalog is being acquired by Smithsonian Folkways Recordings, the label run by the Smithsonian Museum.\u003c/p>\n\u003cp>In a press release, Arhoolie founder Chris Strachwitz, 90 years old, said that the sale is intended to ensure that the label’s 350 releases would continue to be available for the music-buying public after he passes.\u003c/p>\n\u003cp>“Since I’m not King Tut, I can’t take my Arhoolie baby with me. It was Moe Asch, founder of Folkways Records, who told me in so many words, ‘Chris, you’ve got to think about what you are going to do with all your stuff when you kick the bucket,'” Strachwitz wrote. “I am very pleased that Arhoolie has found a new home at the Smithsonian, where they are committed to keeping everything in print and available to the public by one method or another. It has been fun running Arhoolie Records for the past 55 years. I plan to continue to produce records and assist the staff at Smithsonian Folkways where I can.”\u003c/p>\n\u003cp>Strachwitz started Arhoolie Records in 1960 with goal of releasing records by obscure and sometimes forgotten artists, and Strachwitz would typically record the releases himself. He began with blues artists such as Mance Lipscomb and Big Joe Williams, but his label would expand to include zydeco, bluegrass and Tejano (Texas-based Mexican American music), among other genres.\u003c/p>\n\u003cp>The sale comes just weeks after Strachwitz was awarded a Grammy — the Trustees Award — for his work preserving the music of artists outside of popular culture. He was honored in a low-key ceremony along with songwriter Fred Foster and avant-garde composer John Cage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The purchase of Arhoolie was made possible by a large grant from Laura and Ed Littlefield of the Sage Foundation, who \u003ca href=\"http://www.nytimes.com/2016/05/11/arts/music/smithsonian-folkways-acquires-arhoolie-records-catalog.html\" target=\"_blank\" rel=\"noopener\">basically bought the label’s catalog\u003c/a> and handed it off to Smithsonian Folkways, leaving a 40 percent share for Strachwitz’s partner, Tom Diamant.\u003c/p>\n\u003cp>For independent label owners such as Scott Soriano, who runs the Sacramento-based SS Records, the Arhoolie sale was smart on Strachwitz’s part:\u003c/p>\n\u003cp>https://www.facebook.com/SORIANO.SS/posts/10154140781688695\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smithsonian Folkways Recordings began in 1987, the result of the museum buying the catalog of the Folkways label after its founder Moe Asch died the year before. Folkways, an influence on Strachwitz, recorded and released the work of Leadbelly (“In the Pines”), Woody Guthrie and the highly-influential \u003ci>Anthology of American Folk Music.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Prince carefully guarded his public image in life, and now some Minnesota lawmakers are trying to ensure that his estate can continue doing so after his death.\u003c/p>\n\u003cp>A Minnesota House committee on Tuesday began debating a measure that would create a so-called Right of Publicity in the state, which would clarify the rights of artists to control the commercial use of their names, likenesses, images, voices and signatures, and to extend those protections even after they die.\u003c/p>\n\u003cp>Other states have similar laws, but Prince’s death brought the question to Minnesota of how to ensure that an artist’s legacy remains in the hands of his or her estate. That occurred to Sen. Bobby Joe Champion when he dropped in on one of many Prince celebrations and saw people selling T-shirts with Prince’s likeness that he believes were probably unlicensed.\u003c/p>\n\u003cp>“It raised a really important issue to say: ‘Well, hold up. Do we have any protections here in Minnesota around a person still being able to control their likeness and their image even after their death?'” said the Minneapolis Democrat, who once directed a choir that backed up Prince in several performances. “We realized in Minnesota we didn’t have any responsible protection.”\u003c/p>\n\u003cp>Prince was found dead in his suburban Minneapolis home on April 21, and since then questions have swirled about what will happen to his estate and legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Minnesota, there is common law that seems to recognize that there is a right of publicity that allows people to control their own names and likenesses, according to Joel Leviton, an attorney for Stinson Leonard Street, the law firm representing the special administrator of Prince’s estate. What has never been established in case law is whether it passes to heirs, he said.\u003c/p>\n\u003cp>“Without clear legal protection prohibiting unauthorized commercial uses of Prince’s name and likeness, the asset — that is Prince’s identity itself — begins to diminish in value as others use it for commercial purposes,” Leviton told lawmakers in the House on Tuesday. “There is no way a subsequent court case can fully recover the value for Prince’s heirs. There are just too many people who can sell T-shirts and merchandise with Prince’s image.”\u003c/p>\n\u003cp>Some say the proposed law — which would protect one’s likeness for at least 50 years — is overreaching and could have serious unintended consequences that likely won’t be thoroughly vetted with less than two weeks remaining in Minnesota’s legislative session.\u003c/p>\n\u003cp>William McGeveran, a law professor at the University of Minnesota who specializes in information law, said the bill could raise constitutional questions. He said that unlike trademark law, which generally focuses on whether a consumer believes someone is trying to “pass off” or misrepresent their goods as someone else’s, this measure has blanket protections that could stop people from creating things pertaining to an artist, such as an unauthorized biography, even if it’s clear it’s not associated with the artist’s estate.\u003c/p>\n\u003cp>McGeveran also said lawmakers need to consider why these rights of publicity should be protected after an artist dies.\u003c/p>\n\u003cp>“The purpose of a copyright is to reward and encourage people for making great music, art, writing, things like that,” he said. “What are we trying to encourage by having these celebrity publicity rights? Do we think that people need to have decades of rights after they die or else they won’t plan on becoming famous? Do we think that people becoming celebrities contributes to our culture the way that Prince’s music does?”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writer Kyle Potter contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince carefully guarded his public image in life, and now some Minnesota lawmakers are trying to ensure that his estate can continue doing so after his death.\u003c/p>\n\u003cp>A Minnesota House committee on Tuesday began debating a measure that would create a so-called Right of Publicity in the state, which would clarify the rights of artists to control the commercial use of their names, likenesses, images, voices and signatures, and to extend those protections even after they die.\u003c/p>\n\u003cp>Other states have similar laws, but Prince’s death brought the question to Minnesota of how to ensure that an artist’s legacy remains in the hands of his or her estate. That occurred to Sen. Bobby Joe Champion when he dropped in on one of many Prince celebrations and saw people selling T-shirts with Prince’s likeness that he believes were probably unlicensed.\u003c/p>\n\u003cp>“It raised a really important issue to say: ‘Well, hold up. Do we have any protections here in Minnesota around a person still being able to control their likeness and their image even after their death?'” said the Minneapolis Democrat, who once directed a choir that backed up Prince in several performances. “We realized in Minnesota we didn’t have any responsible protection.”\u003c/p>\n\u003cp>Prince was found dead in his suburban Minneapolis home on April 21, and since then questions have swirled about what will happen to his estate and legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Minnesota, there is common law that seems to recognize that there is a right of publicity that allows people to control their own names and likenesses, according to Joel Leviton, an attorney for Stinson Leonard Street, the law firm representing the special administrator of Prince’s estate. What has never been established in case law is whether it passes to heirs, he said.\u003c/p>\n\u003cp>“Without clear legal protection prohibiting unauthorized commercial uses of Prince’s name and likeness, the asset — that is Prince’s identity itself — begins to diminish in value as others use it for commercial purposes,” Leviton told lawmakers in the House on Tuesday. “There is no way a subsequent court case can fully recover the value for Prince’s heirs. There are just too many people who can sell T-shirts and merchandise with Prince’s image.”\u003c/p>\n\u003cp>Some say the proposed law — which would protect one’s likeness for at least 50 years — is overreaching and could have serious unintended consequences that likely won’t be thoroughly vetted with less than two weeks remaining in Minnesota’s legislative session.\u003c/p>\n\u003cp>William McGeveran, a law professor at the University of Minnesota who specializes in information law, said the bill could raise constitutional questions. He said that unlike trademark law, which generally focuses on whether a consumer believes someone is trying to “pass off” or misrepresent their goods as someone else’s, this measure has blanket protections that could stop people from creating things pertaining to an artist, such as an unauthorized biography, even if it’s clear it’s not associated with the artist’s estate.\u003c/p>\n\u003cp>McGeveran also said lawmakers need to consider why these rights of publicity should be protected after an artist dies.\u003c/p>\n\u003cp>“The purpose of a copyright is to reward and encourage people for making great music, art, writing, things like that,” he said. “What are we trying to encourage by having these celebrity publicity rights? Do we think that people need to have decades of rights after they die or else they won’t plan on becoming famous? Do we think that people becoming celebrities contributes to our culture the way that Prince’s music does?”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writer Kyle Potter contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Murals painted by \u003ca href=\"http://www.nytimes.com/2014/01/17/arts/design/robert-duncan-and-jess-and-their-wonderland-of-art.html?_r=0\" target=\"_blank\">the artist Jess\u003c/a> in film critic Pauline Kael’s former home on Oregon Street in Berkeley have been saved.\u003c/p>\n\u003cp>A 29-year-old tech worker who comes from a family of artists purchased the 1905 brown-shingled home for $1.45 million and signed a covenant promising not to paint over or disturb the murals for 10 years.\u003c/p>\n\u003cp>“I got very inspired by the artwork,” said Reuben Gibson at a reception at the house on May 6. “It speaks to me. I love mysticism, the romantic myth. I love 'Lord of the Rings.' I like the artwork. It’s one of the reasons I bought the house.”\u003c/p>\n\u003cp>Kael, who became \u003ca href=\"http://www.newyorker.com/contributors/pauline-kael\" target=\"_blank\">America’s leading film critic\u003c/a> after she started writing for the New Yorker in 1967, moved to Berkeley in 1955. (She had attended UC Berkeley in the 1930s, but never graduated.) She was the manager of the two-screen Berkeley Cinema Guild Studio in the Sequoia Building on Telegraph Avenue near Haste Street. The theater showed both American and European films and became known for its innovative programming, and what movie historian David Thomson described as Kael’s \"pungent” film reviews.\u003c/p>\n\u003cp>In 1956, Kael hired Jess (he dropped his last name in the 1940s after he became estranged from his family) to paint murals throughout the house. Jess painted 10 whimsical murals -- in the styles of Gaudi, Bonnard, Braque, Klee, the Symbolists and others -- above the front door, on the back porch, in the living room, in the upstairs hallway and in various bedrooms. Five of the murals have been painted over. Another artist, Henry Jacobus, painted the kitchen floor and a mural.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read the full story at Berkeleyside:\u003c/em>\u003cbr>\n\u003ca href=\"http://www.berkeleyside.com/2016/05/09/the-jess-murals-at-former-pauline-kael-house-are-saved/\" target=\"_blank\">\u003cstrong>Prized murals at film critic Pauline Kael's former home are saved\u003c/strong>\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Murals painted by \u003ca href=\"http://www.nytimes.com/2014/01/17/arts/design/robert-duncan-and-jess-and-their-wonderland-of-art.html?_r=0\" target=\"_blank\">the artist Jess\u003c/a> in film critic Pauline Kael’s former home on Oregon Street in Berkeley have been saved.\u003c/p>\n\u003cp>A 29-year-old tech worker who comes from a family of artists purchased the 1905 brown-shingled home for $1.45 million and signed a covenant promising not to paint over or disturb the murals for 10 years.\u003c/p>\n\u003cp>“I got very inspired by the artwork,” said Reuben Gibson at a reception at the house on May 6. “It speaks to me. I love mysticism, the romantic myth. I love 'Lord of the Rings.' I like the artwork. It’s one of the reasons I bought the house.”\u003c/p>\n\u003cp>Kael, who became \u003ca href=\"http://www.newyorker.com/contributors/pauline-kael\" target=\"_blank\">America’s leading film critic\u003c/a> after she started writing for the New Yorker in 1967, moved to Berkeley in 1955. (She had attended UC Berkeley in the 1930s, but never graduated.) She was the manager of the two-screen Berkeley Cinema Guild Studio in the Sequoia Building on Telegraph Avenue near Haste Street. The theater showed both American and European films and became known for its innovative programming, and what movie historian David Thomson described as Kael’s \"pungent” film reviews.\u003c/p>\n\u003cp>In 1956, Kael hired Jess (he dropped his last name in the 1940s after he became estranged from his family) to paint murals throughout the house. Jess painted 10 whimsical murals -- in the styles of Gaudi, Bonnard, Braque, Klee, the Symbolists and others -- above the front door, on the back porch, in the living room, in the upstairs hallway and in various bedrooms. Five of the murals have been painted over. Another artist, Henry Jacobus, painted the kitchen floor and a mural.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read the full story at Berkeleyside:\u003c/em>\u003cbr>\n\u003ca href=\"http://www.berkeleyside.com/2016/05/09/the-jess-murals-at-former-pauline-kael-house-are-saved/\" target=\"_blank\">\u003cstrong>Prized murals at film critic Pauline Kael's former home are saved\u003c/strong>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "is-klingon-a-living-language-thats-for-human-courts-to-decide",
"title": "Is Klingon a Living Language? That's for (Human) Courts to Decide",
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"headTitle": "Is Klingon a Living Language? That’s for (Human) Courts to Decide | KQED",
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"content": "\u003cp>A new lawsuit is boldly going where no man has gone before.\u003c/p>\n\u003cp>Paramount Pictures and CBS are suing the producers of a Star Trek fan film for copyright infringement. The studios own the copyright to the Star Trek franchise, including six television shows and 12 movies.\u003c/p>\n\u003cp>They’re suing Axanar Productions along with executive producer Alec Peters over their 2014 short film \u003cem>Prelude to Axanar\u003c/em>, and the planned full-length \u003cem>Axanar\u003c/em>. Peters raised more than $101,000 on Kickstarter to make the first film, and Axanar Productions says they’ve raised more than $1 million in total.\u003c/p>\n\u003cp>The movies are set in the Star Trek universe and serve as a prequel to the original series from the 1960s. \u003cem>Axanar\u003c/em> takes place 21 years before Captain Kirk came on the scene and tells the story of Garth of Izar, “the legendary Starfleet captain who is Captain Kirk’s hero.” For the true Trekkies, here are more \u003ca href=\"http://www.axanarproductions.com/about/the-story/\" target=\"_blank\" rel=\"noopener\">details from the filmmakers\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Axanar tells the story of Garth and his crew during the Four Years War, the war with the Klingon Empire that almost tore the Federation apart. Garth’s victory at Axanar solidified the Federation and allowed it to become the entity we know in Kirk’s time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Fan films exist in a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=103673352\" target=\"_blank\" rel=\"noopener\">legal gray area\u003c/a>. There have been several \u003ca href=\"https://en.wikipedia.org/wiki/Star_Trek_fan_productions\" target=\"_blank\" rel=\"noopener\">fan productions\u003c/a> of Star Trek shows over the years. \u003ca href=\"http://www.wired.com/2014/07/star-trek-axanar-fan-film/\" target=\"_blank\" rel=\"noopener\">According to Wired\u003c/a>, Paramount “has traditionally allowed these fan-made projects to move forward, as long as they agree not to sell anything — including tickets, merchandise, or copies of the finished film or series.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in December 2015, the studios filed a complaint against Axanar. In a follow-up brief, they identify “infringing elements,” including original Star Trek characters, races and species (like Klingons and Vulcans), uniforms, planets, the Starship Enterprise (which is of course the \u003ca href=\"https://en.wikipedia.org/wiki/Starship_Enterprise\" target=\"_blank\" rel=\"noopener\">NCC-1701\u003c/a>), logos — and the Klingon language.\u003c/p>\n\u003cp>The way the court decides on the last item on that list has big legal implications. The Language Creation Society \u003ca href=\"https://www.scribd.com/doc/310744493/035-1-Brief-of-Amicus-Curiae-1?secret_password=I5JAsrdYbwE8oTIe5zPx\" target=\"_blank\" rel=\"noopener\">filed an amicus\u003c/a> brief in support of the filmmakers. It argues that since Klingon was invented in the 1980s, the language has expanded beyond its origins — there’s even a \u003ca href=\"http://www.kli.org/\" target=\"_blank\" rel=\"noopener\">Klingon Language Institute\u003c/a>. They say there’s enough vocabulary in the language to translate Shakespeare’s \u003cem>Hamlet\u003c/em>. Klingon “took on a life of its own — a life that the Copyright Act has no power to control,” they say.\u003c/p>\n\u003cp>The studios say they own the “fictional language.”\u003c/p>\n\u003cp>The reason this matters — whether you can copyright a language — is related to programming. Is computer code a language, and can you copyright it? It goes to a long-running case between Oracle and Google. The \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/paramount-claims-crowdfunded-star-trek-874985\" target=\"_blank\" rel=\"noopener\">Hollywood Reporter summarizes\u003c/a>: “In a nutshell, Oracle looks to protect its Java API code from Google’s attempt to use some of it for its Android software. A federal appeals court ruled in May 2014 that one could indeed copyright an API, leading to a collective freak-out by many in the tech industry.” \u003ca href=\"http://www.slate.com/articles/technology/future_tense/2015/06/oracle_v_google_klingon_and_copyrighting_language.single.html\" target=\"_blank\" rel=\"noopener\">Charles Duan at Slate\u003c/a> explains that “computer networking technology depends on languages, like the Wi-Fi protocol, so that multiple computers can communicate and understand one another.” If languages can be copyrighted, it would stifle innovation and create monopolies, he argues.\u003c/p>\n\u003cp>The Supreme Court didn’t take up the case.\u003c/p>\n\u003cp>Meanwhile, a court date in the case involving Paramount, CBS and Axanar is set for May 2017. The filmmakers picked up some big endorsements, though. Justin Lin, director of the upcoming — authorized — \u003cem>Star Trek: Beyond\u003c/em>, tweeted his support:\u003c/p>\n\u003cp>https://twitter.com/trailingjohnson/status/709285689095917568\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Mark Okrand, who created Klingon in 1984, and published the \u003ca href=\"http://www.amazon.com/Klingon-Dictionary-Star-Trek/dp/067174559X\" target=\"_blank\" rel=\"noopener\">first Klingon dictionary\u003c/a> in 1985, agrees. “Languages are something that you should use and you should feel free to use them and be encouraged to use them,” he tells NPR’s Michel Martin. “And not worry about someone standing over your shoulder saying: yes, you can say that; no, you can’t; yes, you can use that language; no, you can’t. Of course you can, and you should.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Klingon+A+Living+Language%3F+That%27s+For+%28Human%29+Courts+To+Decide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new lawsuit is boldly going where no man has gone before.\u003c/p>\n\u003cp>Paramount Pictures and CBS are suing the producers of a Star Trek fan film for copyright infringement. The studios own the copyright to the Star Trek franchise, including six television shows and 12 movies.\u003c/p>\n\u003cp>They’re suing Axanar Productions along with executive producer Alec Peters over their 2014 short film \u003cem>Prelude to Axanar\u003c/em>, and the planned full-length \u003cem>Axanar\u003c/em>. Peters raised more than $101,000 on Kickstarter to make the first film, and Axanar Productions says they’ve raised more than $1 million in total.\u003c/p>\n\u003cp>The movies are set in the Star Trek universe and serve as a prequel to the original series from the 1960s. \u003cem>Axanar\u003c/em> takes place 21 years before Captain Kirk came on the scene and tells the story of Garth of Izar, “the legendary Starfleet captain who is Captain Kirk’s hero.” For the true Trekkies, here are more \u003ca href=\"http://www.axanarproductions.com/about/the-story/\" target=\"_blank\" rel=\"noopener\">details from the filmmakers\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Axanar tells the story of Garth and his crew during the Four Years War, the war with the Klingon Empire that almost tore the Federation apart. Garth’s victory at Axanar solidified the Federation and allowed it to become the entity we know in Kirk’s time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Fan films exist in a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=103673352\" target=\"_blank\" rel=\"noopener\">legal gray area\u003c/a>. There have been several \u003ca href=\"https://en.wikipedia.org/wiki/Star_Trek_fan_productions\" target=\"_blank\" rel=\"noopener\">fan productions\u003c/a> of Star Trek shows over the years. \u003ca href=\"http://www.wired.com/2014/07/star-trek-axanar-fan-film/\" target=\"_blank\" rel=\"noopener\">According to Wired\u003c/a>, Paramount “has traditionally allowed these fan-made projects to move forward, as long as they agree not to sell anything — including tickets, merchandise, or copies of the finished film or series.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in December 2015, the studios filed a complaint against Axanar. In a follow-up brief, they identify “infringing elements,” including original Star Trek characters, races and species (like Klingons and Vulcans), uniforms, planets, the Starship Enterprise (which is of course the \u003ca href=\"https://en.wikipedia.org/wiki/Starship_Enterprise\" target=\"_blank\" rel=\"noopener\">NCC-1701\u003c/a>), logos — and the Klingon language.\u003c/p>\n\u003cp>The way the court decides on the last item on that list has big legal implications. The Language Creation Society \u003ca href=\"https://www.scribd.com/doc/310744493/035-1-Brief-of-Amicus-Curiae-1?secret_password=I5JAsrdYbwE8oTIe5zPx\" target=\"_blank\" rel=\"noopener\">filed an amicus\u003c/a> brief in support of the filmmakers. It argues that since Klingon was invented in the 1980s, the language has expanded beyond its origins — there’s even a \u003ca href=\"http://www.kli.org/\" target=\"_blank\" rel=\"noopener\">Klingon Language Institute\u003c/a>. They say there’s enough vocabulary in the language to translate Shakespeare’s \u003cem>Hamlet\u003c/em>. Klingon “took on a life of its own — a life that the Copyright Act has no power to control,” they say.\u003c/p>\n\u003cp>The studios say they own the “fictional language.”\u003c/p>\n\u003cp>The reason this matters — whether you can copyright a language — is related to programming. Is computer code a language, and can you copyright it? It goes to a long-running case between Oracle and Google. The \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/paramount-claims-crowdfunded-star-trek-874985\" target=\"_blank\" rel=\"noopener\">Hollywood Reporter summarizes\u003c/a>: “In a nutshell, Oracle looks to protect its Java API code from Google’s attempt to use some of it for its Android software. A federal appeals court ruled in May 2014 that one could indeed copyright an API, leading to a collective freak-out by many in the tech industry.” \u003ca href=\"http://www.slate.com/articles/technology/future_tense/2015/06/oracle_v_google_klingon_and_copyrighting_language.single.html\" target=\"_blank\" rel=\"noopener\">Charles Duan at Slate\u003c/a> explains that “computer networking technology depends on languages, like the Wi-Fi protocol, so that multiple computers can communicate and understand one another.” If languages can be copyrighted, it would stifle innovation and create monopolies, he argues.\u003c/p>\n\u003cp>The Supreme Court didn’t take up the case.\u003c/p>\n\u003cp>Meanwhile, a court date in the case involving Paramount, CBS and Axanar is set for May 2017. The filmmakers picked up some big endorsements, though. Justin Lin, director of the upcoming — authorized — \u003cem>Star Trek: Beyond\u003c/em>, tweeted his support:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>And Mark Okrand, who created Klingon in 1984, and published the \u003ca href=\"http://www.amazon.com/Klingon-Dictionary-Star-Trek/dp/067174559X\" target=\"_blank\" rel=\"noopener\">first Klingon dictionary\u003c/a> in 1985, agrees. “Languages are something that you should use and you should feel free to use them and be encouraged to use them,” he tells NPR’s Michel Martin. “And not worry about someone standing over your shoulder saying: yes, you can say that; no, you can’t; yes, you can use that language; no, you can’t. Of course you can, and you should.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Klingon+A+Living+Language%3F+That%27s+For+%28Human%29+Courts+To+Decide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After 25 centuries Sophocles’ \u003cem>Antigone\u003c/em> is still the sharpest theatrical take on state power and dead bodies. King Creon’s refusal to bury his niece’s Antigone’s brothers and Antigone’s defiance of the King’s decree shows how politically and dramatically potent a corpse can be.\u003c/p>\n\u003cp>There have been too many corpses in San Francisco recently — the bullet-ridden bodies of Alex Nieto and Mario Woods — killed in strange and discouraging encounters with the police. The resulting outrage has produced hundreds of modern day Antigones: political activists storming City Hall calling for the resignations of Mayor Ed Lee and Chief of Police Greg Suhr; low riders shutting down Valencia Street; and, most dramatically, the 17-day hunger strike by the “Frisco Five” at the Mission Police Station which came at least to a temporary end over the weekend.\u003c/p>\n\u003cp>There is only one corpse in spoken word poet and novelist Paul Flores’ solo show, \u003ca href=\"http://www.paulsflores.com/events/2016/5/6/youre-gonna-cry-may-6-28-at-the-phoenix-theater-in-san-francisco\" target=\"_blank\" rel=\"noopener\">\u003cem>You’re Gonna Cry\u003c/em>\u003c/a>. Its understated and dismaying entrance into Flores’ portrait of Mission district in the mid-1990s is shocking, especially in the way the dead body just kind of appears and then just as quickly fades away. It’s a horrible sequence, not really related to state violence, and yet in spite of the 20-year difference in time between the events depicted in Flores’ play and today, it somehow feels of a piece with what’s happening now.\u003c/p>\n\u003cfigure id=\"attachment_11564124\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11564124\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Paul-with-Youre-Gonna-Cry-Backdrop.jpg\" alt=\"Paul Flores in front of the set for his 'You're Gonna Cry." Photo: Ramses El-Qare\" width=\"720\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Paul-with-Youre-Gonna-Cry-Backdrop.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Paul-with-Youre-Gonna-Cry-Backdrop-400x266.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Paul Flores in front of the set for his ‘You’re Gonna Cry.’ (Photo: Ramses El-Qare)\u003c/figcaption>\u003c/figure>\n\u003cp>It takes a while for Flores’ play to get going. When it does, it bounces deftly between sharp political commentary, goofy fun, and a surreal sense of tragedy. It’s one of those one-man shows that seems to include everyone in the world. Of the most important, there is Cesar, a young Chicano poet; Lydia, a Latina party girl; Richard, a tech worker and new homeowner; Ronnie, a drug-dealing puppeteer; Bianca, his 7-year old niece, who feels the dangers of the world with an aching calm; and Chingon, a kind of all-seeing hipster of the street. And that’s just the beginning of the neighborhood.\u003c/p>\n\u003cp>There’s not much of a plot, just the desire of each character to take on the world and experience everything that the Mission had to offer at that time. For Cesar, it’s the beginning of a political bohemia; for Lydia, a chance to escape her traditional and domineering father; for Richard, the white man’s journey into a world he sees as more vibrant and alive than suburban Palo Alto.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tragedy is that Flores’ characters can’t quite grasp what is happening around them, and the way that money is subtly influencing and controlling their lives. It’s as if Adam Smith’s invisible hand of the market went about slyly killing hopes and dreams, and every once and a while, an innocent bystander — just for kicks.\u003c/p>\n\u003cp>When Ronnie pleads with Lydia to watch his nieces (Bianca and Stephanie) so that he can bail his friend Willie out of jail — arrested for disturbing the peace and tech worker Richard’s sleep — you intuitively feel the makings of a disaster. There it is in Lydia’s blithe acceptance of caring for children she has no plans to watch and Ronnie’s promise to repay her in drugs. These are just two of the many exchanges of money, people, and favors that lead to a corpse on the street.\u003c/p>\n\u003cp>Later, in one of the most affecting scenes of the evening, Cesar, Lydia, and their friend Martin try to understand what happened. None of them is fully capable of doing so, and so Flores leaves it to time — in the figure of Chingon — to at least offer a sense of perspective. And without directly saying so, he comes up with something a little like this:\u003c/p>\n\u003cp>Once upon time there was a community in the Mission. It was imperfect and plagued by human failure. But the vibrancy of the people and life there was so alluring that the rich felt that this was something they had to have. And so they purchased the “lifestyle” and adopted the outlines of what they saw—smoked “Pall Mall cigarettes/ and set up a retro couch on the sidewalk.” For these “Nuevo Mission Bohemians…Evan/Casey/Brian/Jen/Charlene/Zack…Nobody calls the police.”\u003c/p>\n\u003cp>And that brings us back to the present moment, with the bullet-ridden corpses of young men and the political economy that would prefer to see them disappear. Flores’ play isn’t perfect, but at its core is the type of political theater desperately missing in San Francisco and the Bay Area.\u003c/p>\n\u003cp>Flores has a vision of the world, and that vision sees two Missions: the present playground of the rich where you can sing in the streets with no fear of the police; and the older one, where the new Antigones do their best to properly bury and respect the dead, and hold onto the land where these tragedies are becoming all too common.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>You’re Gonna Cry\u003c/em> plays through Saturday, May 28 at the Phoenix Theatre in San Francisco. For information and tickets please go to www.theatermadcap.com.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After 25 centuries Sophocles’ \u003cem>Antigone\u003c/em> is still the sharpest theatrical take on state power and dead bodies. King Creon’s refusal to bury his niece’s Antigone’s brothers and Antigone’s defiance of the King’s decree shows how politically and dramatically potent a corpse can be.\u003c/p>\n\u003cp>There have been too many corpses in San Francisco recently — the bullet-ridden bodies of Alex Nieto and Mario Woods — killed in strange and discouraging encounters with the police. The resulting outrage has produced hundreds of modern day Antigones: political activists storming City Hall calling for the resignations of Mayor Ed Lee and Chief of Police Greg Suhr; low riders shutting down Valencia Street; and, most dramatically, the 17-day hunger strike by the “Frisco Five” at the Mission Police Station which came at least to a temporary end over the weekend.\u003c/p>\n\u003cp>There is only one corpse in spoken word poet and novelist Paul Flores’ solo show, \u003ca href=\"http://www.paulsflores.com/events/2016/5/6/youre-gonna-cry-may-6-28-at-the-phoenix-theater-in-san-francisco\" target=\"_blank\" rel=\"noopener\">\u003cem>You’re Gonna Cry\u003c/em>\u003c/a>. Its understated and dismaying entrance into Flores’ portrait of Mission district in the mid-1990s is shocking, especially in the way the dead body just kind of appears and then just as quickly fades away. It’s a horrible sequence, not really related to state violence, and yet in spite of the 20-year difference in time between the events depicted in Flores’ play and today, it somehow feels of a piece with what’s happening now.\u003c/p>\n\u003cfigure id=\"attachment_11564124\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11564124\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Paul-with-Youre-Gonna-Cry-Backdrop.jpg\" alt=\"Paul Flores in front of the set for his 'You're Gonna Cry." Photo: Ramses El-Qare\" width=\"720\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Paul-with-Youre-Gonna-Cry-Backdrop.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Paul-with-Youre-Gonna-Cry-Backdrop-400x266.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Paul Flores in front of the set for his ‘You’re Gonna Cry.’ (Photo: Ramses El-Qare)\u003c/figcaption>\u003c/figure>\n\u003cp>It takes a while for Flores’ play to get going. When it does, it bounces deftly between sharp political commentary, goofy fun, and a surreal sense of tragedy. It’s one of those one-man shows that seems to include everyone in the world. Of the most important, there is Cesar, a young Chicano poet; Lydia, a Latina party girl; Richard, a tech worker and new homeowner; Ronnie, a drug-dealing puppeteer; Bianca, his 7-year old niece, who feels the dangers of the world with an aching calm; and Chingon, a kind of all-seeing hipster of the street. And that’s just the beginning of the neighborhood.\u003c/p>\n\u003cp>There’s not much of a plot, just the desire of each character to take on the world and experience everything that the Mission had to offer at that time. For Cesar, it’s the beginning of a political bohemia; for Lydia, a chance to escape her traditional and domineering father; for Richard, the white man’s journey into a world he sees as more vibrant and alive than suburban Palo Alto.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The tragedy is that Flores’ characters can’t quite grasp what is happening around them, and the way that money is subtly influencing and controlling their lives. It’s as if Adam Smith’s invisible hand of the market went about slyly killing hopes and dreams, and every once and a while, an innocent bystander — just for kicks.\u003c/p>\n\u003cp>When Ronnie pleads with Lydia to watch his nieces (Bianca and Stephanie) so that he can bail his friend Willie out of jail — arrested for disturbing the peace and tech worker Richard’s sleep — you intuitively feel the makings of a disaster. There it is in Lydia’s blithe acceptance of caring for children she has no plans to watch and Ronnie’s promise to repay her in drugs. These are just two of the many exchanges of money, people, and favors that lead to a corpse on the street.\u003c/p>\n\u003cp>Later, in one of the most affecting scenes of the evening, Cesar, Lydia, and their friend Martin try to understand what happened. None of them is fully capable of doing so, and so Flores leaves it to time — in the figure of Chingon — to at least offer a sense of perspective. And without directly saying so, he comes up with something a little like this:\u003c/p>\n\u003cp>Once upon time there was a community in the Mission. It was imperfect and plagued by human failure. But the vibrancy of the people and life there was so alluring that the rich felt that this was something they had to have. And so they purchased the “lifestyle” and adopted the outlines of what they saw—smoked “Pall Mall cigarettes/ and set up a retro couch on the sidewalk.” For these “Nuevo Mission Bohemians…Evan/Casey/Brian/Jen/Charlene/Zack…Nobody calls the police.”\u003c/p>\n\u003cp>And that brings us back to the present moment, with the bullet-ridden corpses of young men and the political economy that would prefer to see them disappear. Flores’ play isn’t perfect, but at its core is the type of political theater desperately missing in San Francisco and the Bay Area.\u003c/p>\n\u003cp>Flores has a vision of the world, and that vision sees two Missions: the present playground of the rich where you can sing in the streets with no fear of the police; and the older one, where the new Antigones do their best to properly bury and respect the dead, and hold onto the land where these tragedies are becoming all too common.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>You’re Gonna Cry\u003c/em> plays through Saturday, May 28 at the Phoenix Theatre in San Francisco. For information and tickets please go to www.theatermadcap.com.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Now through Sunday, May 15: \u003ca href=\"https://shotgunplayers.org/online/hamlet\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamlet\u003c/em> \u003c/a>at Shotgun Players’ Ashby Stage, Berkeley\u003cbr>\n\u003c/strong>‘The play’s the thing’ in this unusual version of Shakespeare’s famous tragedy, where the cast members only find out which role they’re going to play that night five minutes before curtain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=an2hCTAI4CU\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, May 14: \u003ca href=\"http://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">\u003cem>Latino Art Now!\u003c/em>\u003c/a> exhibition at MACLA, San Jose\u003c/strong>\u003cbr>\nFor the 18th year running, the region’s premiere Latino art and culture hub presents an exhibition of works by some of the most fabulous contemporary Latino artists of recent times from the Bay Area and beyond, like Carlos Rolón/Dzine, Gilbert “Magu” Lujan, and Ester Hernandez.\u003c/p>\n\u003cp>\u003cstrong>Now through Thursday, May 19: Cypress String Quartet’s \u003ca href=\"http://cypressquartet.com/beethoven-in-the-city/\" target=\"_blank\" rel=\"noopener\">\u003cem>Beethoven in the City\u003c/em>\u003c/a> concert series at a variety of locations, San Francisco\u003cbr>\n\u003c/strong>After 20 years, the esteemed Bay Area-based chamber ensemble is saying farewell with a series of free pop-up concerts covering all 16 of Beethoven’s string quartets in different locations around San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Saturday, May 14: \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art\u003c/a> (SFMOMA) reopening, San Francisco\u003c/strong>\u003cbr>\nAfter three years of being closed to the public, the expanded SFMOMA reopens with a big public celebration and hundreds of newly added works of contemporary art from the Fisher Collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also of interest:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, May 28: Paul Flores’ \u003ca href=\"http://www.paulsflores.com/events/2016/5/6/youre-gonna-cry-may-6-28-at-the-phoenix-theater-in-san-francisco\" target=\"_blank\" rel=\"noopener\">\u003ci>You’re Gonna Cry\u003c/i>\u003c/a> at Phoenix Theatre, San Francisco\u003cbr>\n\u003c/strong>Bay Area actor and spoken word artist Paul Flores presents a solo show about Mission gentrification in the 1990s, embodying many colorful characters inspired by the neighborhood’s residents.\u003c/p>\n\n",
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"excerpt": "KQED Newsroom host Thuy Vu and senior arts editor Chloe Veltman discuss the latest local arts news headlines and look at upcoming cultural happenings around the Bay Area. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Now through Sunday, May 15: \u003ca href=\"https://shotgunplayers.org/online/hamlet\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamlet\u003c/em> \u003c/a>at Shotgun Players’ Ashby Stage, Berkeley\u003cbr>\n\u003c/strong>‘The play’s the thing’ in this unusual version of Shakespeare’s famous tragedy, where the cast members only find out which role they’re going to play that night five minutes before curtain.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/an2hCTAI4CU'\n title='//www.youtube.com/embed/an2hCTAI4CU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Now through Saturday, May 14: \u003ca href=\"http://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">\u003cem>Latino Art Now!\u003c/em>\u003c/a> exhibition at MACLA, San Jose\u003c/strong>\u003cbr>\nFor the 18th year running, the region’s premiere Latino art and culture hub presents an exhibition of works by some of the most fabulous contemporary Latino artists of recent times from the Bay Area and beyond, like Carlos Rolón/Dzine, Gilbert “Magu” Lujan, and Ester Hernandez.\u003c/p>\n\u003cp>\u003cstrong>Now through Thursday, May 19: Cypress String Quartet’s \u003ca href=\"http://cypressquartet.com/beethoven-in-the-city/\" target=\"_blank\" rel=\"noopener\">\u003cem>Beethoven in the City\u003c/em>\u003c/a> concert series at a variety of locations, San Francisco\u003cbr>\n\u003c/strong>After 20 years, the esteemed Bay Area-based chamber ensemble is saying farewell with a series of free pop-up concerts covering all 16 of Beethoven’s string quartets in different locations around San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Saturday, May 14: \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art\u003c/a> (SFMOMA) reopening, San Francisco\u003c/strong>\u003cbr>\nAfter three years of being closed to the public, the expanded SFMOMA reopens with a big public celebration and hundreds of newly added works of contemporary art from the Fisher Collection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also of interest:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, May 28: Paul Flores’ \u003ca href=\"http://www.paulsflores.com/events/2016/5/6/youre-gonna-cry-may-6-28-at-the-phoenix-theater-in-san-francisco\" target=\"_blank\" rel=\"noopener\">\u003ci>You’re Gonna Cry\u003c/i>\u003c/a> at Phoenix Theatre, San Francisco\u003cbr>\n\u003c/strong>Bay Area actor and spoken word artist Paul Flores presents a solo show about Mission gentrification in the 1990s, embodying many colorful characters inspired by the neighborhood’s residents.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A 17-day hunger strike at San Francisco’s Mission District police station involving artists ended Saturday night.\u003c/p>\n\u003cp>The “Frisco Five” (#Frisco5), as the strikers have come to be known, include members of the Bay Area hip-hop community Ilyich Sato and Sellassie Blackwell, along with Edwin Lindo, Ike Pinkston and Maria Cristina Guttierrez.\u003c/p>\n\u003cp>The hunger strikers were calling for the resignation of police chief Greg Suhr in protest at the recent police shootings of several men from ethnic minority groups.\u003c/p>\n\u003cp>All five of the strikers remain in hospital where they were admitted Friday night for medical attention.\u003c/p>\n\u003cp>On Tuesday, May 3, the Frisco Five, in wheelchairs, led a group of protesters to San Francisco City Hall where they demanded to speak to mayor Ed Lee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the way to City Hall, KQED Arts captured a moment of Xiomara Grace singing Sam Cooke’s “A Change is Gonna Come” (below). Lee was not available, but spoke to the hunger strikers by phone on Thursday. Lee said he had no intention of asking Suhr to step down.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vBizSbcRxzo\u003c/p>\n\u003cp>The \u003ca href=\"http://www.bbc.com/news/world-us-canada-36240628\" target=\"_blank\" rel=\"noopener\">BBC reports\u003c/a> that more than 30 people were arrested and subsequently released in the aftermath of protests on Friday, May 6 at City Hall.\u003c/p>\n\u003cp>There are more than 1,000 fatal shootings by police in the U.S. each year, among them a disproportionately high number of people of color.\u003c/p>\n\u003cp>The protests have struck a chord with the Bay Area’s creative community, with artists openly showing their support of the strikers.\u003c/p>\n\u003cp>On Wednesday, May 4, actor and spoken word artist Paul Flores performed a free, pop-up version of his solo show about the gentrification of the Mission District in the 1990s, \u003ca href=\"http://www.paulsflores.com/your-gonna-cry/\" target=\"_blank\" rel=\"noopener\">\u003cem>You’re Gonna Cry\u003c/em>\u003c/a>, on the curb outside the Mission police station in front of the Frisco Five and around 100 onlookers. Singer Rupa Marya — of the band \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes\u003c/a> and a professional physician — was a core part of the volunteer medical team monitoring the health of the Five during the strike.\u003c/p>\n\u003cfigure id=\"attachment_11562719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11562719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-800x562.jpg\" alt=\"Actor Paul Flores performs his solo show, 'You're Gonna Cry' outside the Mission police station on Wednesday, May 4 in solidarity with the Frisco Five hunger strikers\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-1920x1349.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-960x675.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Paul Flores performs his solo show, ‘You’re Gonna Cry’ outside the Mission police station on Wednesday, May 4 in solidarity with the Frisco Five hunger strikers \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Frisco Five’s supporters are now calling for a “general strike” on Monday, May 9 at 8am at City Hall.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A 17-day hunger strike at San Francisco’s Mission District police station involving artists ended Saturday night.\u003c/p>\n\u003cp>The “Frisco Five” (#Frisco5), as the strikers have come to be known, include members of the Bay Area hip-hop community Ilyich Sato and Sellassie Blackwell, along with Edwin Lindo, Ike Pinkston and Maria Cristina Guttierrez.\u003c/p>\n\u003cp>The hunger strikers were calling for the resignation of police chief Greg Suhr in protest at the recent police shootings of several men from ethnic minority groups.\u003c/p>\n\u003cp>All five of the strikers remain in hospital where they were admitted Friday night for medical attention.\u003c/p>\n\u003cp>On Tuesday, May 3, the Frisco Five, in wheelchairs, led a group of protesters to San Francisco City Hall where they demanded to speak to mayor Ed Lee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the way to City Hall, KQED Arts captured a moment of Xiomara Grace singing Sam Cooke’s “A Change is Gonna Come” (below). Lee was not available, but spoke to the hunger strikers by phone on Thursday. Lee said he had no intention of asking Suhr to step down.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vBizSbcRxzo'\n title='//www.youtube.com/embed/vBizSbcRxzo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003ca href=\"http://www.bbc.com/news/world-us-canada-36240628\" target=\"_blank\" rel=\"noopener\">BBC reports\u003c/a> that more than 30 people were arrested and subsequently released in the aftermath of protests on Friday, May 6 at City Hall.\u003c/p>\n\u003cp>There are more than 1,000 fatal shootings by police in the U.S. each year, among them a disproportionately high number of people of color.\u003c/p>\n\u003cp>The protests have struck a chord with the Bay Area’s creative community, with artists openly showing their support of the strikers.\u003c/p>\n\u003cp>On Wednesday, May 4, actor and spoken word artist Paul Flores performed a free, pop-up version of his solo show about the gentrification of the Mission District in the 1990s, \u003ca href=\"http://www.paulsflores.com/your-gonna-cry/\" target=\"_blank\" rel=\"noopener\">\u003cem>You’re Gonna Cry\u003c/em>\u003c/a>, on the curb outside the Mission police station in front of the Frisco Five and around 100 onlookers. Singer Rupa Marya — of the band \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes\u003c/a> and a professional physician — was a core part of the volunteer medical team monitoring the health of the Five during the strike.\u003c/p>\n\u003cfigure id=\"attachment_11562719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11562719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-800x562.jpg\" alt=\"Actor Paul Flores performs his solo show, 'You're Gonna Cry' outside the Mission police station on Wednesday, May 4 in solidarity with the Frisco Five hunger strikers\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-1920x1349.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_4501-e1462745105566-960x675.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Paul Flores performs his solo show, ‘You’re Gonna Cry’ outside the Mission police station on Wednesday, May 4 in solidarity with the Frisco Five hunger strikers \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Frisco Five’s supporters are now calling for a “general strike” on Monday, May 9 at 8am at City Hall.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mission to 'Save' Prince Turned Tragic for Marin Doctor's Son",
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"content": "\u003cp>Andrew Kornfeld’s overnight flight to bring a prescription drug to Prince has been described by his attorney as a “lifesaving mission” to persuade the superstar to start treatment for addiction.\u003c/p>\n\u003cp>Instead, the 26-year-old Californian found Prince collapsed in an elevator at his Paisley Park home.\u003c/p>\n\u003cp>Neither Andrew Kornfeld nor his father, an addiction and pain doctor, has been accused of wrongdoing. But a law enforcement official said on Friday investigators want to interview both of them about the drug that was never administered to Prince. The official spoke on condition of anonymity because he was not authorized to speak to the media.\u003c/p>\n\u003cp>Kornfeld helped in his father’s medical practice by teaching surfing to young drug users in recovery. In college, his studies in neuroscience sparked a fascination with consciousness and psychedelic drugs such as LSD.\u003c/p>\n\u003cp>[contextly_sidebar id=”JXif7xzYuundo9FGKXLa00Lky77c6xLJ”]\u003c/p>\n\u003cp>Jim Fadiman, a psychologist who popularized the notion of using micro-doses of LSD to enhance workplace productivity, considers the younger Kornfeld “a brilliant man.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kornfeld’s father sent his son to Prince’s Minneapolis-area home, a decision that has raised questions about whether the doctor was acting legally at the time. The elder Kornfeld was not licensed to practice medicine in Minnesota and was not registered to care for patients there via telemedicine, as the state requires. His son was not a licensed prescriber.\u003c/p>\n\u003cp>Since his connection with Prince became known, the younger Kornfeld has been stalked by celebrity photographers and has avoided talking publicly about the musician’s death. Reached by phone Friday, he said simply, “Sorry. I’m not making a comment at this time.”\u003c/p>\n\u003cp>Andrew Kornfeld’s social media accounts show him smiling with a surfboard and list him as CEO of a Bay Area marketing company for health professionals. A University of California Santa Cruz spokesman confirmed that he graduated in 2013 with bachelor’s degrees in psychology and neuroscience.\u003c/p>\n\u003cp>But perhaps the most intriguing detail about Kornfeld is his connection with Fadiman, author of “The Psychedelic Explorer’s Guide,” which collects stories of people experimenting with LSD, including professionals who took a fraction of a normal dose and reported boosts in their creativity at work.\u003c/p>\n\u003cp>Fadiman and Kornfeld co-authored a chapter titled “Psychedelic-Induced Experiences” for “The Wiley-Blackwell Handbook of Transpersonal Psychology,” a textbook dealing with spirituality and transcendent human experience.\u003c/p>\n\u003cp>Their chapter lauds LSD’s potential for out-of-body experiences and “seemingly spontaneous healing” from allergies, cluster headaches and even alcoholism.\u003c/p>\n\u003cp>“Andrew and I are friends and colleagues,” Fadiman said in an email to The Associated Press. A portion of the chapter they wrote together proposes that LSD may activate adaptive processes that form new, lasting connections in the brain.\u003c/p>\n\u003cp>“That section was entirely Andrew’s,” Fadiman said.\u003c/p>\n\u003cp>The book’s editor, Glenn Hartelius, an associate professor at California Institute of Integral Studies in San Francisco, praised Kornfeld’s contribution.\u003c/p>\n\u003cp>“I have not met Andrew, but I found his thesis on how psychedelics create personal transformation to be original, elegant and potentially researchable — perhaps offering a step forward in understanding the impact of these substances,” Hartelius said in an email.\u003c/p>\n\u003cp>The passage attributed to Kornfeld suggests psychedelic drugs could be “neuroplasticity activators.” It states: “If a single psychedelic experience is able to create durable changes in personality and mental and emotional health, as has been reported, then it seems that these substances may be able to uniquely catalyze the formation of new brain maps.”\u003c/p>\n\u003cp>Kornfeld’s father, Dr. Howard Kornfeld, has published research that has been more mainstream than his son’s work, although it too has pushed the envelope.\u003c/p>\n\u003cp>Last year, Howard Kornfeld published a paper on the use of buprenorphine, which can be used to treat opioid addiction by easing cravings and withdrawal symptoms. He wrote about using a buprenorphine patch to avoid “the painful abstinence period” before standard buprenorphine treatment for addiction. In a 2011 letter to a medical journal, he praised buprenorphine’s potential for pain patients, saying believers in opioid therapy “need not lose faith.”\u003c/p>\n\u003cp>On Friday, college friends described Kornfeld as charismatic and smart, a helpful person with the rare ability to get people to work together.\u003c/p>\n\u003cp>“He really knows how to get people motivated, and he’s a good organizer,” said Kyle Boyar, 25, who met Kornfeld in a neuroscience course at the University of California at Santa Cruz in 2009.\u003c/p>\n\u003cp>Michelle Dick was in a student group that Kornfeld started on campus called the “Brain, Mind and Consciousness Society.”\u003c/p>\n\u003cp>“It’s not many people you meet who make you feel like they have the potential to change people’s lives for the better on a massive scale,” she said in an email.\u003c/p>\n\u003cp>Kornfeld’s father was called by Prince’s staff on April 20 as they sought help for the musician’s addiction to painkillers, according to the Kornfelds’ attorney, William Mauzy. The doctor sent his son on an overnight flight with a small amount of buprenorphine for Prince. The musician never took the drug.\u003c/p>\n\u003cp>After finding Prince in the elevator, Andrew Kornfeld called 911 because two of his staffers were shocked and screaming, Mauzy said.\u003c/p>\n\u003cp>“That he seemed to be the person who was most able to deal with the situation instead of people who knew Prince for years would imply that he was more level-headed than star-struck,” Fadiman said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Janie Har in San Francisco contributed to this report.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"excerpt": "Minnesota investigators want to interview addiction specialist and son, who was sent with a dose of drug used to treat opioid addiction. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andrew Kornfeld’s overnight flight to bring a prescription drug to Prince has been described by his attorney as a “lifesaving mission” to persuade the superstar to start treatment for addiction.\u003c/p>\n\u003cp>Instead, the 26-year-old Californian found Prince collapsed in an elevator at his Paisley Park home.\u003c/p>\n\u003cp>Neither Andrew Kornfeld nor his father, an addiction and pain doctor, has been accused of wrongdoing. But a law enforcement official said on Friday investigators want to interview both of them about the drug that was never administered to Prince. The official spoke on condition of anonymity because he was not authorized to speak to the media.\u003c/p>\n\u003cp>Kornfeld helped in his father’s medical practice by teaching surfing to young drug users in recovery. In college, his studies in neuroscience sparked a fascination with consciousness and psychedelic drugs such as LSD.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Jim Fadiman, a psychologist who popularized the notion of using micro-doses of LSD to enhance workplace productivity, considers the younger Kornfeld “a brilliant man.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kornfeld’s father sent his son to Prince’s Minneapolis-area home, a decision that has raised questions about whether the doctor was acting legally at the time. The elder Kornfeld was not licensed to practice medicine in Minnesota and was not registered to care for patients there via telemedicine, as the state requires. His son was not a licensed prescriber.\u003c/p>\n\u003cp>Since his connection with Prince became known, the younger Kornfeld has been stalked by celebrity photographers and has avoided talking publicly about the musician’s death. Reached by phone Friday, he said simply, “Sorry. I’m not making a comment at this time.”\u003c/p>\n\u003cp>Andrew Kornfeld’s social media accounts show him smiling with a surfboard and list him as CEO of a Bay Area marketing company for health professionals. A University of California Santa Cruz spokesman confirmed that he graduated in 2013 with bachelor’s degrees in psychology and neuroscience.\u003c/p>\n\u003cp>But perhaps the most intriguing detail about Kornfeld is his connection with Fadiman, author of “The Psychedelic Explorer’s Guide,” which collects stories of people experimenting with LSD, including professionals who took a fraction of a normal dose and reported boosts in their creativity at work.\u003c/p>\n\u003cp>Fadiman and Kornfeld co-authored a chapter titled “Psychedelic-Induced Experiences” for “The Wiley-Blackwell Handbook of Transpersonal Psychology,” a textbook dealing with spirituality and transcendent human experience.\u003c/p>\n\u003cp>Their chapter lauds LSD’s potential for out-of-body experiences and “seemingly spontaneous healing” from allergies, cluster headaches and even alcoholism.\u003c/p>\n\u003cp>“Andrew and I are friends and colleagues,” Fadiman said in an email to The Associated Press. A portion of the chapter they wrote together proposes that LSD may activate adaptive processes that form new, lasting connections in the brain.\u003c/p>\n\u003cp>“That section was entirely Andrew’s,” Fadiman said.\u003c/p>\n\u003cp>The book’s editor, Glenn Hartelius, an associate professor at California Institute of Integral Studies in San Francisco, praised Kornfeld’s contribution.\u003c/p>\n\u003cp>“I have not met Andrew, but I found his thesis on how psychedelics create personal transformation to be original, elegant and potentially researchable — perhaps offering a step forward in understanding the impact of these substances,” Hartelius said in an email.\u003c/p>\n\u003cp>The passage attributed to Kornfeld suggests psychedelic drugs could be “neuroplasticity activators.” It states: “If a single psychedelic experience is able to create durable changes in personality and mental and emotional health, as has been reported, then it seems that these substances may be able to uniquely catalyze the formation of new brain maps.”\u003c/p>\n\u003cp>Kornfeld’s father, Dr. Howard Kornfeld, has published research that has been more mainstream than his son’s work, although it too has pushed the envelope.\u003c/p>\n\u003cp>Last year, Howard Kornfeld published a paper on the use of buprenorphine, which can be used to treat opioid addiction by easing cravings and withdrawal symptoms. He wrote about using a buprenorphine patch to avoid “the painful abstinence period” before standard buprenorphine treatment for addiction. In a 2011 letter to a medical journal, he praised buprenorphine’s potential for pain patients, saying believers in opioid therapy “need not lose faith.”\u003c/p>\n\u003cp>On Friday, college friends described Kornfeld as charismatic and smart, a helpful person with the rare ability to get people to work together.\u003c/p>\n\u003cp>“He really knows how to get people motivated, and he’s a good organizer,” said Kyle Boyar, 25, who met Kornfeld in a neuroscience course at the University of California at Santa Cruz in 2009.\u003c/p>\n\u003cp>Michelle Dick was in a student group that Kornfeld started on campus called the “Brain, Mind and Consciousness Society.”\u003c/p>\n\u003cp>“It’s not many people you meet who make you feel like they have the potential to change people’s lives for the better on a massive scale,” she said in an email.\u003c/p>\n\u003cp>Kornfeld’s father was called by Prince’s staff on April 20 as they sought help for the musician’s addiction to painkillers, according to the Kornfelds’ attorney, William Mauzy. The doctor sent his son on an overnight flight with a small amount of buprenorphine for Prince. The musician never took the drug.\u003c/p>\n\u003cp>After finding Prince in the elevator, Andrew Kornfeld called 911 because two of his staffers were shocked and screaming, Mauzy said.\u003c/p>\n\u003cp>“That he seemed to be the person who was most able to deal with the situation instead of people who knew Prince for years would imply that he was more level-headed than star-struck,” Fadiman said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Janie Har in San Francisco contributed to this report.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you caught jazz pianist \u003ca href=\"http://www.npr.org/artists/14867336/keith-jarrett\" target=\"_blank\">Keith Jarrett\u003c/a> earlier this week in either San Francisco or Los Angeles, you might have heard a little more than just music. Jarrett is famous for his involuntary vocalizations.\u003c/p>\n\u003cp>These noises he makes are hard to describe. Sometimes it's a grunt or a hum, other times it's a squeal that varies in pitch. At certain solo concerts, Jarrett makes the sounds for almost the entire show. Check out \u003ca href=\"https://www.youtube.com/watch?v=KPgEoDt_Duc\">this performance\u003c/a> of his in Toyko. Many jazz pianists involuntarily vocalize, but Keith Jarrett is arguably the most conspicuous.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/262879591\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>There is some dispute over whether these sounds are truly “involuntary,\" if the musicians needed to make them to play the way they did. Regardless, many of the most famous jazz pianists vocalized -- \u003ca href=\"https://www.youtube.com/watch?v=cvLjp-7b0Jk\">Bud Powell\u003c/a> and \u003ca href=\"https://youtu.be/cSX_7ejc5u8?t=13m30s\">Oscar Peterson\u003c/a> to name a few. You can hear vocal sounds from pianists on a lot of jazz albums if you listen closely. Sometimes the musicians are making these noises, but we just can't hear them because of how the session was recorded.\u003c/p>\n\u003cp>Jazz musicians aren’t the only ones who involuntary vocalize. Some classical pianists, like \u003ca href=\"https://www.youtube.com/watch?v=aEkXet4WX_c&feature=youtu.be&t=4m16s\">Glenn Gould\u003c/a>, also did it. Gould claimed these auditory occurrences were unconscious. When Gould was a child, his piano teacher tried to cut this idiosyncrasy, but nothing seemed to work. Gould’s humming has been called “Alien Conversations.” Some classical purists feel it ruins his most famous recordings, even though you can barely hear him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This little audio treat comes to us from \u003ca href=\"http://www.theworldaccordingtosound.org\">The World According to Sound\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you caught jazz pianist \u003ca href=\"http://www.npr.org/artists/14867336/keith-jarrett\" target=\"_blank\">Keith Jarrett\u003c/a> earlier this week in either San Francisco or Los Angeles, you might have heard a little more than just music. Jarrett is famous for his involuntary vocalizations.\u003c/p>\n\u003cp>These noises he makes are hard to describe. Sometimes it's a grunt or a hum, other times it's a squeal that varies in pitch. At certain solo concerts, Jarrett makes the sounds for almost the entire show. Check out \u003ca href=\"https://www.youtube.com/watch?v=KPgEoDt_Duc\">this performance\u003c/a> of his in Toyko. Many jazz pianists involuntarily vocalize, but Keith Jarrett is arguably the most conspicuous.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/262879591&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/262879591'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There is some dispute over whether these sounds are truly “involuntary,\" if the musicians needed to make them to play the way they did. Regardless, many of the most famous jazz pianists vocalized -- \u003ca href=\"https://www.youtube.com/watch?v=cvLjp-7b0Jk\">Bud Powell\u003c/a> and \u003ca href=\"https://youtu.be/cSX_7ejc5u8?t=13m30s\">Oscar Peterson\u003c/a> to name a few. You can hear vocal sounds from pianists on a lot of jazz albums if you listen closely. Sometimes the musicians are making these noises, but we just can't hear them because of how the session was recorded.\u003c/p>\n\u003cp>Jazz musicians aren’t the only ones who involuntary vocalize. Some classical pianists, like \u003ca href=\"https://www.youtube.com/watch?v=aEkXet4WX_c&feature=youtu.be&t=4m16s\">Glenn Gould\u003c/a>, also did it. Gould claimed these auditory occurrences were unconscious. When Gould was a child, his piano teacher tried to cut this idiosyncrasy, but nothing seemed to work. Gould’s humming has been called “Alien Conversations.” Some classical purists feel it ruins his most famous recordings, even though you can barely hear him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The five activists known as the “#Frisco5” that have been on a hunger strike for 16 days in front of the Mission District police station in San Francisco were hospitalized Friday, though the strikers promises to continue their protest while receiving medical treatment. All five have been taken to an unknown location.\u003c/p>\n\u003cp>The announcement comes only a few days after one of their members, Sellassie Blackwell, was taken to USSF Medical Center for a checkup. Blackwell was released hours later.\u003c/p>\n\u003cp>“They’re not giving up,” supporter Victor Picazo told the \u003ca href=\"http://www.sfgate.com/bayarea/article/SF-hunger-strikers-go-to-hospital-protest-camp-7404085.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a> this afternoon. “They’re just too sick to be out here.”\u003c/p>\n\u003cp>The protestors have been calling for San Francisco Police Chief Greg Suhr to resign over the series of local fatal police shootings that have occurred over the past two years.\u003c/p>\n\u003cp>Since they began their strike on April 21, the group has drawn significant media coverage, which resulted in a discussion over the phone with San Francisco Mayor Ed Lee earlier this week. But according to the group’s spokesperson, Yayne Abeda, Lee told the strikers that he continues to support Suhr and would not ask him to step down.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The Frisco5 shall continue to fast until their demands are met,” Abeda wrote in a statement after the talk with Lee. “They ask that the community stand behind them and show Mayor Lee that there will be no business as usual until he fires Chief Suhr and steps down as Mayor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Doctors have been regularly checking on the strikers, who are subsisting on a diet of chicken broth and coconut water.\u003c/p>\n\n",
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"content": "\u003cp>\u003ca href=\"http://www.counterpulse.org/\" target=\"_blank\" rel=\"noopener\">CounterPulse, \u003c/a>a San Francisco dance presenter, announced Friday that it received a $100,000-grant from the city for renovations to the façade of its new Tenderloin District home.\u003c/p>\n\u003cp>“It became clear that (the facade renovation) was critical to our entry to the neighborhood,” said CounterPulse Artistic Director Julie Phelps during a tour of the company’s theater and offices on Turk Street.\u003c/p>\n\u003cfigure id=\"attachment_11557013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11557013\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/013-800x600.jpg\" alt=\"Counterpulse Artistic Director Julie Phelps beams as she shows off a new basement area which may become a rehearsal studio\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Counterpulse Artistic Director Julie Phelps beams as she shows off a new basement area which may become a rehearsal studio \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://oewd.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Office of Economic and Workforce Development\u003c/a>, \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">Arts Commission,\u003c/a> and the \u003ca href=\"http://sfgfta.org/\" target=\"_blank\" rel=\"noopener\">Grants for the Arts/Hotel Tax Fund\u003c/a> all contributed to the grant. “They all worked together, which is very rare,” Phelps said. \u003c/p>\n\u003cp>The state-of-the-art facility is the result of a pilot partnership between CounterPulse and the Community Arts Stabilization Trust (CAST) to help arts organizations survive San Francisco’s real estate boom.\u003c/p>\n\u003cp>“We are thrilled to support CounterPulse in seeing the building renovation through to the end,” said Director of Cultural Affairs Tom DeCaigny in a statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The money will pay for renovating and fully-furnishing the interior of CounterPulse’s new venue, which is a former porn theater. Among the ongoing renovations is the restoration of the theater’s historic facade, including replacement of its neon signage. \u003c/p>\n\u003cfigure id=\"attachment_11557012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11557012\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/011-e1462567283779-800x496.jpg\" alt=\"Specially ordered signs mark the unisex bathrooms at Counterpulse\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-400x248.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-1180x732.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-1920x1191.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/011-e1462567283779-960x596.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Specially ordered signs mark the unisex bathrooms at Counterpulse \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CounterPulse sort-of opened last fall, with a few performances in the still raw space. Phelps beamed with pride Friday as she showed two reporters around the almost-finished interior, with its 115-seat theater, new lobby, and unisex bathrooms. “I had to special order the signs,” Phelps said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>A hard opening for CounterPulse’s new space is scheduled for \u003ca href=\"http://www.counterpulse.org/event/magenta/\" target=\"_blank\" rel=\"noopener\">June 23\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.counterpulse.org/\" target=\"_blank\" rel=\"noopener\">CounterPulse, \u003c/a>a San Francisco dance presenter, announced Friday that it received a $100,000-grant from the city for renovations to the façade of its new Tenderloin District home.\u003c/p>\n\u003cp>“It became clear that (the facade renovation) was critical to our entry to the neighborhood,” said CounterPulse Artistic Director Julie Phelps during a tour of the company’s theater and offices on Turk Street.\u003c/p>\n\u003cfigure id=\"attachment_11557013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11557013\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/013-800x600.jpg\" alt=\"Counterpulse Artistic Director Julie Phelps beams as she shows off a new basement area which may become a rehearsal studio\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/013-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Counterpulse Artistic Director Julie Phelps beams as she shows off a new basement area which may become a rehearsal studio \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://oewd.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Office of Economic and Workforce Development\u003c/a>, \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">Arts Commission,\u003c/a> and the \u003ca href=\"http://sfgfta.org/\" target=\"_blank\" rel=\"noopener\">Grants for the Arts/Hotel Tax Fund\u003c/a> all contributed to the grant. “They all worked together, which is very rare,” Phelps said. \u003c/p>\n\u003cp>The state-of-the-art facility is the result of a pilot partnership between CounterPulse and the Community Arts Stabilization Trust (CAST) to help arts organizations survive San Francisco’s real estate boom.\u003c/p>\n\u003cp>“We are thrilled to support CounterPulse in seeing the building renovation through to the end,” said Director of Cultural Affairs Tom DeCaigny in a statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"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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"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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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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"id": "here-and-now",
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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.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"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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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"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"
}
},
"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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"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": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"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",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"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": {
"site": "news",
"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": {
"site": "news",
"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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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