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"content": "\u003cp>\u003cem>Story updated Wednesday, Apr. 20: Please scroll to end for update.\u003c/em>\u003c/p>\n\u003cp>Japanese-American opera singer Brian Asawa died Monday at Holy Cross Hospital in Mission Hills, CA after battling a long illness. He was 49.\u003c/p>\n\u003cp>Asawa, a graduate of \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a>’s Merola and Adler training programs who was well known to Bay Area audiences for his roles in productions of Benjamin Britten’s \u003cem>A Midsummer Night’s Dream\u003c/em> and Igor Stravinsky’s \u003cem>The Rake’s Progress\u003c/em> among others, possessed an unusual voice: he was a countertenor — a singer who performs very high in the male vocal range.\u003c/p>\n\u003cp>Brian Asawa joined the Merola program in 1991 and continued on with the company the following year as an Adler Fellow. Both of these opportunities came at a time when few countertenors gained entry into high-profile training programs. (The more usual male voices are tenors, baritones and basses.)\u003c/p>\n\u003cp>In 1992, Asawa gained critical attention for his role with the San Francisco Opera as Oberon, King of the Fairies in \u003cem>A Midsummer Night’s Dream\u003c/em>. He went on to perform various roles at opera houses around the world, including the Metropolitan Opera, the Paris Opera and Covent Garden. “Asawa was an electric performer, his fearless performing style supported by a voice of arresting beauty and expressivity,” were words the classical music magazine \u003cem>Opera News\u003c/em> once used to describe the singer in his prime. Asawa’s final performance on the War Memorial Opera House stage was in the 2000-01 season in Handel’s \u003cem>Semele\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“San Francisco Opera mourns the passing of Brian Asawa, a very talented and highly skilled countertenor,” said San Francisco Opera’s outgoing General Director David Gockley in a statement issued to staff and subsequently obtained by KQED. “He was a remarkable artist who commanded the stage with his beautiful voice and theatrical presence.”\u003c/p>\n\u003cp>Story update: The Merola Opera Program has set up a fund in Asawa’s memory to support the opera stars of the future. The \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Brian Asawa Memorial Fund\u003c/a> will benefit incoming Merola opera program students, especially countertenors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Brian Asawa was in the vanguard of the countertenor resurgence which continues to this day,” said Jean Kellogg, executive director of the Merola program. “He will be greatly missed in the opera world, and by all of us at Merola in particular.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Story updated Wednesday, Apr. 20: Please scroll to end for update.\u003c/em>\u003c/p>\n\u003cp>Japanese-American opera singer Brian Asawa died Monday at Holy Cross Hospital in Mission Hills, CA after battling a long illness. He was 49.\u003c/p>\n\u003cp>Asawa, a graduate of \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a>’s Merola and Adler training programs who was well known to Bay Area audiences for his roles in productions of Benjamin Britten’s \u003cem>A Midsummer Night’s Dream\u003c/em> and Igor Stravinsky’s \u003cem>The Rake’s Progress\u003c/em> among others, possessed an unusual voice: he was a countertenor — a singer who performs very high in the male vocal range.\u003c/p>\n\u003cp>Brian Asawa joined the Merola program in 1991 and continued on with the company the following year as an Adler Fellow. Both of these opportunities came at a time when few countertenors gained entry into high-profile training programs. (The more usual male voices are tenors, baritones and basses.)\u003c/p>\n\u003cp>In 1992, Asawa gained critical attention for his role with the San Francisco Opera as Oberon, King of the Fairies in \u003cem>A Midsummer Night’s Dream\u003c/em>. He went on to perform various roles at opera houses around the world, including the Metropolitan Opera, the Paris Opera and Covent Garden. “Asawa was an electric performer, his fearless performing style supported by a voice of arresting beauty and expressivity,” were words the classical music magazine \u003cem>Opera News\u003c/em> once used to describe the singer in his prime. Asawa’s final performance on the War Memorial Opera House stage was in the 2000-01 season in Handel’s \u003cem>Semele\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Berkeley author \u003ca href=\"http://www.tjstiles.net/\" target=\"_blank\" rel=\"noopener\">T.J. Stiles \u003c/a>won his second Pulitzer Prize for biography this week for his most recent book, \u003ci>Custer’s Trials: A Life on the Frontier of a New America,\u003c/i> about General George Custer, the Civil War veteran who famously met his demise at the battle of the Little Big Horn.\u003c/p>\n\u003cp>“I am utterly flabbergasted by a second Pulitzer Prize,” the author wrote on his \u003ca href=\"https://www.facebook.com/TJStiles.Author/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. “I am ecstatic, and grateful, and cannot thank enough my editor, Jonathan Segal, and the incredible publishing house of Alfred A. Knopf.”\u003c/p>\n\u003cp>Stiles has written two other books besides \u003ci>Custer’s Trials\u003c/i> and his second book, \u003ci>The First Tycoon: The Epic Life of Cornelius Vanderbilt\u003c/i> earned him his first Pulitzer Prize back in 2010 as well as the National Book Award for Nonfiction in 2009. His first book, \u003cem>Jesse James: Last Rebel of the Civil War,\u003c/em> won the Ambassador Book Award and the Peter Seaborg Award for Civil War Scholarship, and was a \u003ci>New York Times\u003c/i> Notable Book of the Year.\u003c/p>\n\u003cp>Born and raised in a small farm town in Minnesota, Stiles moved to Berkeley in 2006 and \u003ca href=\"http://www.tjstiles.net/events.htm\" target=\"_blank\" rel=\"noopener\">married his now wife the following year\u003c/a>. \u003c/p>\n\u003cp>In an interview with the \u003ca href=\"http://www.dailycal.org/2016/04/18/2-daily-californian-alumni-berkeley-resident-win-pulitzer-prizes/\" target=\"_blank\" rel=\"noopener\">Daily Californian\u003c/a>, the UC Berkeley student-run newspaper, Stiles said that it took him six years to research and write the biography. The book concentrates on the contradictions between the man, who struggled with adapting to “the emerging modern world,” and the myth that was created after his death, thanks in part to his loyal wife. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He was an extraordinarily vivid, contradictory personality who documented his inner life with remarkable thoroughness,” Stiles told the Daily Cal. \u003c/p>\n\u003cp>\u003ci>Listen to T.J. Stiles discuss Custer’s life on KQED’s \u003cb>Forum\u003c/b> back in \u003ca href=\"http://www.kqed.org/a/forum/R201512071030\" target=\"_blank\" rel=\"noopener\">December of last year\u003c/a>:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cobject>\u003c/object>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Berkeley author \u003ca href=\"http://www.tjstiles.net/\" target=\"_blank\" rel=\"noopener\">T.J. Stiles \u003c/a>won his second Pulitzer Prize for biography this week for his most recent book, \u003ci>Custer’s Trials: A Life on the Frontier of a New America,\u003c/i> about General George Custer, the Civil War veteran who famously met his demise at the battle of the Little Big Horn.\u003c/p>\n\u003cp>“I am utterly flabbergasted by a second Pulitzer Prize,” the author wrote on his \u003ca href=\"https://www.facebook.com/TJStiles.Author/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. “I am ecstatic, and grateful, and cannot thank enough my editor, Jonathan Segal, and the incredible publishing house of Alfred A. Knopf.”\u003c/p>\n\u003cp>Stiles has written two other books besides \u003ci>Custer’s Trials\u003c/i> and his second book, \u003ci>The First Tycoon: The Epic Life of Cornelius Vanderbilt\u003c/i> earned him his first Pulitzer Prize back in 2010 as well as the National Book Award for Nonfiction in 2009. His first book, \u003cem>Jesse James: Last Rebel of the Civil War,\u003c/em> won the Ambassador Book Award and the Peter Seaborg Award for Civil War Scholarship, and was a \u003ci>New York Times\u003c/i> Notable Book of the Year.\u003c/p>\n\u003cp>Born and raised in a small farm town in Minnesota, Stiles moved to Berkeley in 2006 and \u003ca href=\"http://www.tjstiles.net/events.htm\" target=\"_blank\" rel=\"noopener\">married his now wife the following year\u003c/a>. \u003c/p>\n\u003cp>In an interview with the \u003ca href=\"http://www.dailycal.org/2016/04/18/2-daily-californian-alumni-berkeley-resident-win-pulitzer-prizes/\" target=\"_blank\" rel=\"noopener\">Daily Californian\u003c/a>, the UC Berkeley student-run newspaper, Stiles said that it took him six years to research and write the biography. The book concentrates on the contradictions between the man, who struggled with adapting to “the emerging modern world,” and the myth that was created after his death, thanks in part to his loyal wife. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/259882065″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>10 people gather in a circle for the beginning of an AXIS Dance “\u003ca href=\"http://www.axisdance.org/dance-jams/\" target=\"_blank\" rel=\"noopener\">community dance jam\u003c/a>” — a workshop in an improvised dance form known as “contact improvisation.” \u003ca href=\"http://www.axisdance.org/\" target=\"_blank\" rel=\"noopener\">AXIS Dance \u003c/a>instructor\u003ca href=\"http://www.axisdance.org/sophie\" target=\"_blank\" rel=\"noopener\"> Sophie Stanley\u003c/a> asks the participants to warm up by saying their name and then physically expressing how they feel.\u003c/p>\n\u003cp>Stanley goes first. “Sophie. Squirmy,” Stanley says, and wiggles her body like a dog getting out of the water. “Kirsten. Excited,” says a class participant and hops up and down to show her feelings.\u003c/p>\n\u003cp>It’s easy to find dance classes in the Bay Area if you get around on both legs. This class at AXIS’s studios at the the \u003ca href=\"http://mccatheater.com/\" target=\"_blank\" rel=\"noopener\">Malonga Casquelourd Center \u003c/a>for the Arts in Oakland is one of the few options for people who are disabled.\u003c/p>\n\u003cp>AXIS Dance co-founder Judith Smith is in the circle. Smith grew up in Colorado riding and jumping horses until a car accident cost her the use of her legs. In the early 1980s, she moved to \u003ca href=\"http://www.cilberkeley.org/\" target=\"_blank\" rel=\"noopener\">Berkeley, which was at the time a center for disabled activists\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the first things that happened was I met a woman and I started doing improvisational movement with her,” Smith says. “And it just really changed my life. I gained a lot of strength, balance, coordination, and a kind of confidence I hadn’t had in five years.”\u003c/p>\n\u003cp>That’s when Smith started AXIS Dance, now one of the Bay Area’s top professional dance companies, and one of the few around the world whose performers include both able bodied and disabled dancers working together. (\u003ca href=\"https://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">AXIS Dance’s professional company will present a new piece by Joe Goode on Saturday, Apr. 23 at Bing Hall on the Stanford campus.\u003c/a>) Smith says the community dance jams are a way to share the experience with anyone who wants to move — not just professionals.\u003c/p>\n\u003cfigure id=\"attachment_11508068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508068\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-800x533.jpg\" alt=\"AXIS Dance Company dancers Julie Crothers and Sophie Stanley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AXIS Dance Company dancers Julie Crothers and Sophie Stanley \u003ccite>(Photo: Dino Corti/AXIS Dance Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People said I want to do this, disabled and not,” Smith says. “And we had nowhere to send them, so we had to do it ourselves.”\u003c/p>\n\u003cp>Smith uses a motorized wheelchair to get around. During the jam session she sometimes speeds around the room, her white hair streaming behind her while others in the class mush together and separate in improvised duets and trios. Multi-instrumentalist \u003ca href=\"http://www.laurainserra.com/\" target=\"_blank\" rel=\"noopener\">Laura Inserra \u003c/a>provides an ambient musical background, playing hang pan drum, Chinese mouth organ, and flute. A dancer in a wheelchair grabs someone’s hand and the two spin as though caught in each other’s gravity, smiling and giggling.\u003c/p>\n\u003cfigure id=\"attachment_11508063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508063\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-800x495.jpg\" alt=\"Multi-instrumentalist Laura Inserra provided the score for AXIS Dance's community dance jam\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Multi-instrumentalist Laura Inserra provided the score for AXIS Dance’s community dance jam \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>June Kogut, a participant in the jam who uses a wheelchair, works with LGBT youth in the East Bay by day. Dancing is her hobby. “It’s really fun to be like spun around, or lean on people,” Kogut says “It helps other people out too; they put their weight on my chair.”\u003c/p>\n\u003cp>Kogut says she was depressed when she lost the use of her legs. She thought she’d have to give up dancing until she discovered these AXIS classes. “It’s so beautiful to be able to dance in a way that is really kind to my body,” Kogut says. “Everyone here is so kind. What I just think about it is kindness.”\u003c/p>\n\u003cp>Derrick Williamson also uses a wheelchair. He lives and works in the South Bay, making the drive all the way from Sunnyvale to Oakland in rush hour traffic. “After two hours of what should leave me feeling worn out, I leave this place with more energy and feeling better than ever,” Williamson says.\u003c/p>\n\u003cfigure id=\"attachment_11508190\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508190\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/007-e1461086775102-800x558.jpg\" alt=\"Community Dance Jam at AXIS Dance in Oakland \" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-400x279.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-960x670.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Community Dance Jam at AXIS Dance in Oakland \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the dancers at the jam are actually able bodied, and they’re having at least as good a time as the dancers in wheelchairs. Brett Weinstein, a realtor from Berkeley, seeks out dance classes all over the East Bay a few days a week as a way to work out and have fun. “It generates a lot of smiles internally for me,” Weinstein says. “Obviously, you don’t want to get your feet run over with a wheelchair. But that’s just paying attention.”\u003c/p>\n\u003cp>Stanley says the jams are just about getting people together and seeing what happens. “I think you just open a door and then people will make beautiful things happen on their own,” she says. “People come into this room because they’re looking for something. Some kind of a food for their soul, for their body. And where we meet, those connections. That’s when the magic happens.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The next AXIS Dance Jam happens on Monday, May 23 at Malonga Casquelourd Center for the Arts in Oakland. Find out more \u003ca href=\"http://www.axisdance.org/dance-jams/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\n",
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"excerpt": "Whether you're in a wheelchair or on your feet, a pro or a beginner, AXIS Dance gets everyone moving ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/259882065″&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/259882065″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>10 people gather in a circle for the beginning of an AXIS Dance “\u003ca href=\"http://www.axisdance.org/dance-jams/\" target=\"_blank\" rel=\"noopener\">community dance jam\u003c/a>” — a workshop in an improvised dance form known as “contact improvisation.” \u003ca href=\"http://www.axisdance.org/\" target=\"_blank\" rel=\"noopener\">AXIS Dance \u003c/a>instructor\u003ca href=\"http://www.axisdance.org/sophie\" target=\"_blank\" rel=\"noopener\"> Sophie Stanley\u003c/a> asks the participants to warm up by saying their name and then physically expressing how they feel.\u003c/p>\n\u003cp>Stanley goes first. “Sophie. Squirmy,” Stanley says, and wiggles her body like a dog getting out of the water. “Kirsten. Excited,” says a class participant and hops up and down to show her feelings.\u003c/p>\n\u003cp>It’s easy to find dance classes in the Bay Area if you get around on both legs. This class at AXIS’s studios at the the \u003ca href=\"http://mccatheater.com/\" target=\"_blank\" rel=\"noopener\">Malonga Casquelourd Center \u003c/a>for the Arts in Oakland is one of the few options for people who are disabled.\u003c/p>\n\u003cp>AXIS Dance co-founder Judith Smith is in the circle. Smith grew up in Colorado riding and jumping horses until a car accident cost her the use of her legs. In the early 1980s, she moved to \u003ca href=\"http://www.cilberkeley.org/\" target=\"_blank\" rel=\"noopener\">Berkeley, which was at the time a center for disabled activists\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the first things that happened was I met a woman and I started doing improvisational movement with her,” Smith says. “And it just really changed my life. I gained a lot of strength, balance, coordination, and a kind of confidence I hadn’t had in five years.”\u003c/p>\n\u003cp>That’s when Smith started AXIS Dance, now one of the Bay Area’s top professional dance companies, and one of the few around the world whose performers include both able bodied and disabled dancers working together. (\u003ca href=\"https://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">AXIS Dance’s professional company will present a new piece by Joe Goode on Saturday, Apr. 23 at Bing Hall on the Stanford campus.\u003c/a>) Smith says the community dance jams are a way to share the experience with anyone who wants to move — not just professionals.\u003c/p>\n\u003cfigure id=\"attachment_11508068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508068\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-800x533.jpg\" alt=\"AXIS Dance Company dancers Julie Crothers and Sophie Stanley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AXIS Dance Company dancers Julie Crothers and Sophie Stanley \u003ccite>(Photo: Dino Corti/AXIS Dance Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People said I want to do this, disabled and not,” Smith says. “And we had nowhere to send them, so we had to do it ourselves.”\u003c/p>\n\u003cp>Smith uses a motorized wheelchair to get around. During the jam session she sometimes speeds around the room, her white hair streaming behind her while others in the class mush together and separate in improvised duets and trios. Multi-instrumentalist \u003ca href=\"http://www.laurainserra.com/\" target=\"_blank\" rel=\"noopener\">Laura Inserra \u003c/a>provides an ambient musical background, playing hang pan drum, Chinese mouth organ, and flute. A dancer in a wheelchair grabs someone’s hand and the two spin as though caught in each other’s gravity, smiling and giggling.\u003c/p>\n\u003cfigure id=\"attachment_11508063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508063\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-800x495.jpg\" alt=\"Multi-instrumentalist Laura Inserra provided the score for AXIS Dance's community dance jam\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Multi-instrumentalist Laura Inserra provided the score for AXIS Dance’s community dance jam \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>June Kogut, a participant in the jam who uses a wheelchair, works with LGBT youth in the East Bay by day. Dancing is her hobby. “It’s really fun to be like spun around, or lean on people,” Kogut says “It helps other people out too; they put their weight on my chair.”\u003c/p>\n\u003cp>Kogut says she was depressed when she lost the use of her legs. She thought she’d have to give up dancing until she discovered these AXIS classes. “It’s so beautiful to be able to dance in a way that is really kind to my body,” Kogut says. “Everyone here is so kind. What I just think about it is kindness.”\u003c/p>\n\u003cp>Derrick Williamson also uses a wheelchair. He lives and works in the South Bay, making the drive all the way from Sunnyvale to Oakland in rush hour traffic. “After two hours of what should leave me feeling worn out, I leave this place with more energy and feeling better than ever,” Williamson says.\u003c/p>\n\u003cfigure id=\"attachment_11508190\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508190\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/007-e1461086775102-800x558.jpg\" alt=\"Community Dance Jam at AXIS Dance in Oakland \" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-400x279.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-960x670.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Community Dance Jam at AXIS Dance in Oakland \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the dancers at the jam are actually able bodied, and they’re having at least as good a time as the dancers in wheelchairs. Brett Weinstein, a realtor from Berkeley, seeks out dance classes all over the East Bay a few days a week as a way to work out and have fun. “It generates a lot of smiles internally for me,” Weinstein says. “Obviously, you don’t want to get your feet run over with a wheelchair. But that’s just paying attention.”\u003c/p>\n\u003cp>Stanley says the jams are just about getting people together and seeing what happens. “I think you just open a door and then people will make beautiful things happen on their own,” she says. “People come into this room because they’re looking for something. Some kind of a food for their soul, for their body. And where we meet, those connections. That’s when the magic happens.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The next AXIS Dance Jam happens on Monday, May 23 at Malonga Casquelourd Center for the Arts in Oakland. Find out more \u003ca href=\"http://www.axisdance.org/dance-jams/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Dancers We Lost’ Honors Bay Area Dancers who Died of AIDS",
"headTitle": "‘Dancers We Lost’ Honors Bay Area Dancers who Died of AIDS | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">A new exhibition of photographs housed at the Community Gallery at the \u003ca href=\"http://www.glbthistory.org/museum/dancers-we-lost/\" target=\"_blank\" rel=\"noopener\">GLBT History Museum\u003c/a> in San Francisco’s Castro neighborhood gathers together a series of portraits of Bay Area dancers who died during the height of the HIV/AIDS epidemic in the 1980s and 90s. The images in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.glbthistory.org/museum/dancers-we-lost/\" target=\"_blank\" rel=\"noopener\">Dancers We Lost: Honoring Performers Lost to HIV/AIDS\u003c/a>\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> capture the dancers at the height of their powers. Their physiques are toned and enviable. They strike graceful, impassioned poses – some mid-air — in tights and in costume.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">The photographs, all mounted on black paper, indicate the dancer’s name, his Bay Area dance company, and the years of each performer’s birth and death. Russell Hartley (1926-1983), who also worked as a costumer for the San Francisco Ballet, appears in the Mother Ginger outfit he designed for the first U.S. production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> which was staged in 1944 at the War Memorial Opera House. \u003c/span>\u003cspan style=\"line-height: 1.5\">A necklace hangs down on Alvin Ailey’s bare chest (1931-1989) as his arms arch upward. Charles Ward (1952-1986) leaps to his right, his arms and legs aimed like arrows at a distant bullseye.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until McElhinney started work on this project, these dancers and their contributions to arts in the Bay Area seemed poised to disappear from the history books. “Absence is the word that came to mind when I began to research these performers,” says the show’s curator Glenne McElhinney in her exhibition notes.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508064\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508064\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-800x450.jpg\" alt=\"L to r: Cruz Luna (1938--1988) Photographer Unknown; Courtesy of Luna Family. Tracy Allen Rhoades (1961--1993) Photo by Robert Bryant; Courtesy of Joe Tuohy. Antonio Mendes (1949--1991) Photographer Unknown; Courtesy of Meg Rosenfeld. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to r: Cruz Luna (1938–1988) (Photo: Photographer Unknown/Courtesy of Luna Family.) Tracy Allen Rhoades (1961–1993) (Photo: Robert Bryant/Courtesy of Joe Tuohy.) Antonio Mendes (1949–1991) (Photo: Unknown/Courtesy of Meg Rosenfeld)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The exhibition originated with McElhinney’s research on the legendary, San Francisco-based dancer and choreographer Zack Thompson, who had a dance studio on the second floor of the Black Community Center — housed at 330 Grove Street from 1968 to the mid-1970s — and \u003ca href=\"http://www.sfgate.com/news/article/OBITUARY-Zack-Thompson-2966148.php\" target=\"_blank\" rel=\"noopener\">died of AIDS at the age of 61 in 1996\u003c/a>. “\u003c/span>\u003cspan style=\"font-weight: 400\">People kept telling me, ‘He was crazy; he was wild; he was an amazing dancer,’” \u003c/span>\u003cspan style=\"font-weight: 400\">McElhinney says of Thompson. \u003c/span>\u003cspan style=\"font-weight: 400\">“This came from so many different voices. They would say, ‘We don’t know what happened to him, but he would be a great interview.’” Once she turned her full attention to Thompson, McElhinney fell in love with his story. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Thompson became internationally famous as a black jazz dancer, danced with Katherine Dunham and Josephine Baker, and lived for many years in Toronto, Paris and Amsterdam before returning to the Bay Area, where he had grown up. Although McElhinney knew little about dance before starting the project, the roll call of dancers who died too soon quickly took hold of her imagination. “I started researching his contemporaries so I could interview them and I found they were all dead,” McElhinney says. “Then I researched their contemporaries and their dance colleagues and they were all dead.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508066\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Boatwright-800x450.jpg\" alt=\"Christopher Boatwright (1954--1997) Photo by Marty Sohl; Courtesy of Museum of Performance + Design \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Boatwright (1954–1997) (Photo: Marty Sohl/Courtesy of Museum of Performance + Design)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">McElhinney also contacted many of the dancers’ families who had saved years of ephemera. She has manila envelopes stuffed with old photographs, playbills and programs relating to performers featured in the exhibition. Over the next few years, the trove of photographs, scrapbooks, personal papers, biography files and items will go to the \u003ca href=\"http://www.mpdsf.org/index.html\" target=\"_blank\" rel=\"noopener\">Museum of Performance + Design\u003c/a> in San Francisco. And, as a result of her findings, the curator is now in the process of producing a short biographical film about Thompson and his life as a dancer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The memorabilia clearly shows how the performers’ families still take pride in their son’s or brother’s achievements, and underscores how much they were deeply loved — and are still deeply missed.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508067\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Stierle-800x450.jpg\" alt=\"Edward Stierle (1968 -1991) Courtesy of The Joffrey Ballet; Photo by Herbert Migdoll Courtesy of Rosemarie Stierle Worton\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Stierle (1968 -1991) (Photo: Herbert Migdoll/Courtesy of Rosemarie Stierle Worton)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ci>Dancers We Lost: Honoring Performers Lost to HIV/AIDS\u003c/i> is on view at the GLBT History Museum through Sunday, Aug. 7. \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A new exhibition of photographs housed at the Community Gallery at the \u003ca href=\"http://www.glbthistory.org/museum/dancers-we-lost/\" target=\"_blank\" rel=\"noopener\">GLBT History Museum\u003c/a> in San Francisco’s Castro neighborhood gathers together a series of portraits of Bay Area dancers who died during the height of the HIV/AIDS epidemic in the 1980s and 90s. The images in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.glbthistory.org/museum/dancers-we-lost/\" target=\"_blank\" rel=\"noopener\">Dancers We Lost: Honoring Performers Lost to HIV/AIDS\u003c/a>\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> capture the dancers at the height of their powers. Their physiques are toned and enviable. They strike graceful, impassioned poses – some mid-air — in tights and in costume.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">The photographs, all mounted on black paper, indicate the dancer’s name, his Bay Area dance company, and the years of each performer’s birth and death. Russell Hartley (1926-1983), who also worked as a costumer for the San Francisco Ballet, appears in the Mother Ginger outfit he designed for the first U.S. production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> which was staged in 1944 at the War Memorial Opera House. \u003c/span>\u003cspan style=\"line-height: 1.5\">A necklace hangs down on Alvin Ailey’s bare chest (1931-1989) as his arms arch upward. Charles Ward (1952-1986) leaps to his right, his arms and legs aimed like arrows at a distant bullseye.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until McElhinney started work on this project, these dancers and their contributions to arts in the Bay Area seemed poised to disappear from the history books. “Absence is the word that came to mind when I began to research these performers,” says the show’s curator Glenne McElhinney in her exhibition notes.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508064\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508064\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-800x450.jpg\" alt=\"L to r: Cruz Luna (1938--1988) Photographer Unknown; Courtesy of Luna Family. Tracy Allen Rhoades (1961--1993) Photo by Robert Bryant; Courtesy of Joe Tuohy. Antonio Mendes (1949--1991) Photographer Unknown; Courtesy of Meg Rosenfeld. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to r: Cruz Luna (1938–1988) (Photo: Photographer Unknown/Courtesy of Luna Family.) Tracy Allen Rhoades (1961–1993) (Photo: Robert Bryant/Courtesy of Joe Tuohy.) Antonio Mendes (1949–1991) (Photo: Unknown/Courtesy of Meg Rosenfeld)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The exhibition originated with McElhinney’s research on the legendary, San Francisco-based dancer and choreographer Zack Thompson, who had a dance studio on the second floor of the Black Community Center — housed at 330 Grove Street from 1968 to the mid-1970s — and \u003ca href=\"http://www.sfgate.com/news/article/OBITUARY-Zack-Thompson-2966148.php\" target=\"_blank\" rel=\"noopener\">died of AIDS at the age of 61 in 1996\u003c/a>. “\u003c/span>\u003cspan style=\"font-weight: 400\">People kept telling me, ‘He was crazy; he was wild; he was an amazing dancer,’” \u003c/span>\u003cspan style=\"font-weight: 400\">McElhinney says of Thompson. \u003c/span>\u003cspan style=\"font-weight: 400\">“This came from so many different voices. They would say, ‘We don’t know what happened to him, but he would be a great interview.’” Once she turned her full attention to Thompson, McElhinney fell in love with his story. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Thompson became internationally famous as a black jazz dancer, danced with Katherine Dunham and Josephine Baker, and lived for many years in Toronto, Paris and Amsterdam before returning to the Bay Area, where he had grown up. Although McElhinney knew little about dance before starting the project, the roll call of dancers who died too soon quickly took hold of her imagination. “I started researching his contemporaries so I could interview them and I found they were all dead,” McElhinney says. “Then I researched their contemporaries and their dance colleagues and they were all dead.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508066\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Boatwright-800x450.jpg\" alt=\"Christopher Boatwright (1954--1997) Photo by Marty Sohl; Courtesy of Museum of Performance + Design \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Boatwright (1954–1997) (Photo: Marty Sohl/Courtesy of Museum of Performance + Design)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">McElhinney also contacted many of the dancers’ families who had saved years of ephemera. She has manila envelopes stuffed with old photographs, playbills and programs relating to performers featured in the exhibition. Over the next few years, the trove of photographs, scrapbooks, personal papers, biography files and items will go to the \u003ca href=\"http://www.mpdsf.org/index.html\" target=\"_blank\" rel=\"noopener\">Museum of Performance + Design\u003c/a> in San Francisco. And, as a result of her findings, the curator is now in the process of producing a short biographical film about Thompson and his life as a dancer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The memorabilia clearly shows how the performers’ families still take pride in their son’s or brother’s achievements, and underscores how much they were deeply loved — and are still deeply missed.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508067\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Stierle-800x450.jpg\" alt=\"Edward Stierle (1968 -1991) Courtesy of The Joffrey Ballet; Photo by Herbert Migdoll Courtesy of Rosemarie Stierle Worton\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Stierle (1968 -1991) (Photo: Herbert Migdoll/Courtesy of Rosemarie Stierle Worton)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ci>Dancers We Lost: Honoring Performers Lost to HIV/AIDS\u003c/i> is on view at the GLBT History Museum through Sunday, Aug. 7. \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Doris Roberts, who played the tart-tongued, endlessly meddling mother on \u003cem>Everybody Loves Raymond\u003c/em>, has died, a family spokeswoman said. She was 90.\u003c/p>\n\u003cp>Roberts died overnight in her sleep, spokeswoman Janet Daily said Monday. Daily was told of the death by Roberts’ son, Michael Cannata.\u003c/p>\n\u003cp>The cause of death was not immediately known. Roberts had been healthy and active, Daily said.\u003c/p>\n\u003cp>In the last two weeks, the actress had attended a discussion on Hollywood and gender held by the SAG-AFTRA actors’ guild.\u003c/p>\n\u003cp>Roberts won four Emmy Awards for her portrayal of Marie Barone on CBS’ \u003cem>Everybody Loves Raymond\u003c/em>, and received a total of seven nods as best supporting actress for the show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We loved our mom, the great #DorisRoberts. A wonderful, funny, indelible actress and friend,” Phil Rosenthal, the show’s producer, posted on his Twitter account.\u003c/p>\n\u003cp>The sitcom, which aired from 1996 to 2005, also starred Ray Romano, Brad Garrett and Patricia Heaton. Peter Boyle, who played husband Frank to Roberts’ Marie, died in 2006.\u003c/p>\n\u003cp>Roberts was also known for her role in the TV detective series \u003cem>Remington Steele\u003c/em> and her work on stage and in movies.\u003c/p>\n\u003cp>She was born Nov. 4, 1925, in St. Louis and grew up in New York, Daily said.\u003c/p>\n\u003cp>Besides her son, she is survived by her daughter-in-law, Jane, and three grandchildren, Kelsey, Andrew, and Devon Cannata.\u003c/p>\n\u003cp>—–\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Doris Roberts, who played the tart-tongued, endlessly meddling mother on \u003cem>Everybody Loves Raymond\u003c/em>, has died, a family spokeswoman said. She was 90.\u003c/p>\n\u003cp>Roberts died overnight in her sleep, spokeswoman Janet Daily said Monday. Daily was told of the death by Roberts’ son, Michael Cannata.\u003c/p>\n\u003cp>The cause of death was not immediately known. Roberts had been healthy and active, Daily said.\u003c/p>\n\u003cp>In the last two weeks, the actress had attended a discussion on Hollywood and gender held by the SAG-AFTRA actors’ guild.\u003c/p>\n\u003cp>Roberts won four Emmy Awards for her portrayal of Marie Barone on CBS’ \u003cem>Everybody Loves Raymond\u003c/em>, and received a total of seven nods as best supporting actress for the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We loved our mom, the great #DorisRoberts. A wonderful, funny, indelible actress and friend,” Phil Rosenthal, the show’s producer, posted on his Twitter account.\u003c/p>\n\u003cp>The sitcom, which aired from 1996 to 2005, also starred Ray Romano, Brad Garrett and Patricia Heaton. Peter Boyle, who played husband Frank to Roberts’ Marie, died in 2006.\u003c/p>\n\u003cp>Roberts was also known for her role in the TV detective series \u003cem>Remington Steele\u003c/em> and her work on stage and in movies.\u003c/p>\n\u003cp>She was born Nov. 4, 1925, in St. Louis and grew up in New York, Daily said.\u003c/p>\n\u003cp>Besides her son, she is survived by her daughter-in-law, Jane, and three grandchildren, Kelsey, Andrew, and Devon Cannata.\u003c/p>\n\u003cp>—–\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>John Oliver turned his righteous outrage to lead poisoning in his \u003ca href=\"https://www.youtube.com/watch?v=GUizvEjR-0U\" target=\"_blank\">weekly show \u003c/a>last night. And, as he tends to do, did it with humor.\u003c/p>\n\u003cp>\"There is no safe level of lead,\" Oliver said. \"It's one of those things so dangerous that you shouldn't even let a little bit inside you, like heroin, or Jeremy Piven.\"\u003c/p>\n\u003cp>He started with the Flint, Michigan water crisis and expanded from there, pointing out that there are 2.1 million homes in the U.S. where children under age six live that also have a lead dust hazard. The Centers for Disease Control and Prevention\u003ca href=\"http://www.cdc.gov/mmwr/preview/mmwrhtml/mm6213a3.htm\" target=\"_blank\">estimates that 535,000 children\u003c/a> under age six have an elevated blood lead level.\u003c/p>\n\u003cp>\"Lead is almost as much a scourge in young children's homes as 'Frozen' merchandise,\" he said, to laughter.\u003c/p>\n\u003cp>Lead is a naturally occurring mineral, but is toxic to humans, especially children, and \u003ca href=\"http://www.who.int/mediacentre/factsheets/fs379/en/\" target=\"_blank\">can lead to irreversible neurodevelopmental \u003c/a>problems, including intellectual disability.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oliver recounted the \"major public health victory\" starting in the U.S. in the 1970s when lead was removed from paint and then from gasoline. Children's blood lead levels plummeted.\u003c/p>\n\u003cp>In 2000, the federal government determined that totally removing lead from all homes, nationwide, would cost $16.6 billion every year for a decade, a very steep price tag.\u003c/p>\n\u003cp>Instead, the federal government funded a lead hazard control program in homes where families where low-income families lived. While $230 million was recommended, the HUD's Lead Hazard Control Program was never funded above $176 million, Oliver said, and has been steadily declining since 2003.\u003c/p>\n\u003cp>This year, the allocation is $110 million, not even as much as Ride Along 2 \u003ca href=\"http://www.the-numbers.com/movie/Ride-Along-2#tab=summary\" target=\"_blank\">has made so far\u003c/a>, a movie the \u003ca href=\"http://nypost.com/2016/01/13/the-worst-part-about-being-a-movie-critic-ride-along-2/\" target=\"_blank\">New York Post said \u003c/a>was \"as funny as lead poisoning.\" (How Oliver put those facts together, I don't know, but it' s true, follow the links.)\u003c/p>\n\u003cp>Oliver turned to all manner of archival news clips during his history lesson, including a 20-year-old clip from \"Sesame Street\" featuring a song about protecting yourself from lead.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It's clearly time to address the problem again,\" Oliver said, and went off to visit \"Sesame Street\" where Elmo, Rosita and even Oscar teamed up to sing a song motivating everyone to conquer the problem.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>John Oliver turned his righteous outrage to lead poisoning in his \u003ca href=\"https://www.youtube.com/watch?v=GUizvEjR-0U\" target=\"_blank\">weekly show \u003c/a>last night. And, as he tends to do, did it with humor.\u003c/p>\n\u003cp>\"There is no safe level of lead,\" Oliver said. \"It's one of those things so dangerous that you shouldn't even let a little bit inside you, like heroin, or Jeremy Piven.\"\u003c/p>\n\u003cp>He started with the Flint, Michigan water crisis and expanded from there, pointing out that there are 2.1 million homes in the U.S. where children under age six live that also have a lead dust hazard. The Centers for Disease Control and Prevention\u003ca href=\"http://www.cdc.gov/mmwr/preview/mmwrhtml/mm6213a3.htm\" target=\"_blank\">estimates that 535,000 children\u003c/a> under age six have an elevated blood lead level.\u003c/p>\n\u003cp>\"Lead is almost as much a scourge in young children's homes as 'Frozen' merchandise,\" he said, to laughter.\u003c/p>\n\u003cp>Lead is a naturally occurring mineral, but is toxic to humans, especially children, and \u003ca href=\"http://www.who.int/mediacentre/factsheets/fs379/en/\" target=\"_blank\">can lead to irreversible neurodevelopmental \u003c/a>problems, including intellectual disability.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oliver recounted the \"major public health victory\" starting in the U.S. in the 1970s when lead was removed from paint and then from gasoline. Children's blood lead levels plummeted.\u003c/p>\n\u003cp>In 2000, the federal government determined that totally removing lead from all homes, nationwide, would cost $16.6 billion every year for a decade, a very steep price tag.\u003c/p>\n\u003cp>Instead, the federal government funded a lead hazard control program in homes where families where low-income families lived. While $230 million was recommended, the HUD's Lead Hazard Control Program was never funded above $176 million, Oliver said, and has been steadily declining since 2003.\u003c/p>\n\u003cp>This year, the allocation is $110 million, not even as much as Ride Along 2 \u003ca href=\"http://www.the-numbers.com/movie/Ride-Along-2#tab=summary\" target=\"_blank\">has made so far\u003c/a>, a movie the \u003ca href=\"http://nypost.com/2016/01/13/the-worst-part-about-being-a-movie-critic-ride-along-2/\" target=\"_blank\">New York Post said \u003c/a>was \"as funny as lead poisoning.\" (How Oliver put those facts together, I don't know, but it' s true, follow the links.)\u003c/p>\n\u003cp>Oliver turned to all manner of archival news clips during his history lesson, including a 20-year-old clip from \"Sesame Street\" featuring a song about protecting yourself from lead.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It's clearly time to address the problem again,\" Oliver said, and went off to visit \"Sesame Street\" where Elmo, Rosita and even Oscar teamed up to sing a song motivating everyone to conquer the problem.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Hamilton\u003c/em>, the hip-hop stage biography of Alexander Hamilton has won the 2016 Pulitzer Prize for drama, honoring creator Lin-Manuel Miranda for a dazzling musical has captured popular consciousness like few Broadway shows.\u003c/p>\n\u003cp>The Columbia University’s prize board on Monday cited \u003cem>Hamilton\u003c/em> as a “landmark American” piece.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em>, about the first U.S. Treasury Secretary, becomes the ninth musical to win the drama award, joining such shows as \u003cem>South Pacific\u003c/em>, ”Sunday in the Park with George” and “Rent.” The last musical to nab the award was “Next to Normal” in 2010.\u003c/p>\n\u003cp>It tells the story of how an orphan immigrant from the Caribbean rose to the highest ranks of American society, as told by a young African-American and Latino cast. Miranda leaned on Ron Chernow’s biography of the Founding Father, but told the tale in common language and verse, transforming Hamilton into “the $10 Founding Father without a father.”\u003c/p>\n\u003cp>Miranda, 36, who wrote the music and story, already has a Tony for creating the Broadway musical “In the Heights,” a show which was nominated for a Pulitzer in 2009 and this month won three Olivier Awards in London. He also has an Emmy for writing the opening number for the 2013 Tony Awards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the past year, Miranda, whose family came from Puerto Rico to New York, has won a “genius grant” from the MacArthur Foundation, as well as the Edward M. Kennedy Prize for Drama Inspired by American History, which came with $100,000.\u003c/p>\n\u003cp>The award was widely expected to go to Miranda this year. The album for \u003cem>Hamilton\u003c/em> won a Grammy Award and became the highest-debuting cast recording on the Billboard Top 200 in over 50 years. The show is a leading favorite in this summer’s Tony Awards. The libretto, published last week, immediately became a top seller on Amazon.com\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> was a sold-out sensation this year when it debuted off-Broadway at New York’s Public Theater and amassed a $60 million advance on Broadway. It has been cheered by politicians as diverse as Dick Cheney and President Barack Obama, and celebrities like British actress Helen Mirren, musician Questlove and many others.\u003c/p>\n\u003cp>The music is a mix of breezy pop, rap battles and slinky R&B. Lyrics are smart and playful, including Hamilton declaring: “In the face of ignorance and resistance/I wrote a financial system into existence.”\u003c/p>\n\u003cp>The Pulitzer drama award, which includes a $10,000 prize, is “for a distinguished play by an American author, preferably original in its source and dealing with American life,” according to the guidelines.\u003c/p>\n\u003cp>Previous playwrights honored include August Wilson, Edward Albee, Eugene O’Neill, Arthur Miller and Tennessee Williams. Recent winners include Annie Baker’s \u003cem>The Flick\u003c/em>, Ayad Akhtar’s \u003cem>Disgraced\u003c/em> and Stephen Adly Guirgis’s “Between Riverside and Crazy.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>——-\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Hamilton\u003c/em>, the hip-hop stage biography of Alexander Hamilton has won the 2016 Pulitzer Prize for drama, honoring creator Lin-Manuel Miranda for a dazzling musical has captured popular consciousness like few Broadway shows.\u003c/p>\n\u003cp>The Columbia University’s prize board on Monday cited \u003cem>Hamilton\u003c/em> as a “landmark American” piece.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em>, about the first U.S. Treasury Secretary, becomes the ninth musical to win the drama award, joining such shows as \u003cem>South Pacific\u003c/em>, ”Sunday in the Park with George” and “Rent.” The last musical to nab the award was “Next to Normal” in 2010.\u003c/p>\n\u003cp>It tells the story of how an orphan immigrant from the Caribbean rose to the highest ranks of American society, as told by a young African-American and Latino cast. Miranda leaned on Ron Chernow’s biography of the Founding Father, but told the tale in common language and verse, transforming Hamilton into “the $10 Founding Father without a father.”\u003c/p>\n\u003cp>Miranda, 36, who wrote the music and story, already has a Tony for creating the Broadway musical “In the Heights,” a show which was nominated for a Pulitzer in 2009 and this month won three Olivier Awards in London. He also has an Emmy for writing the opening number for the 2013 Tony Awards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the past year, Miranda, whose family came from Puerto Rico to New York, has won a “genius grant” from the MacArthur Foundation, as well as the Edward M. Kennedy Prize for Drama Inspired by American History, which came with $100,000.\u003c/p>\n\u003cp>The award was widely expected to go to Miranda this year. The album for \u003cem>Hamilton\u003c/em> won a Grammy Award and became the highest-debuting cast recording on the Billboard Top 200 in over 50 years. The show is a leading favorite in this summer’s Tony Awards. The libretto, published last week, immediately became a top seller on Amazon.com\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> was a sold-out sensation this year when it debuted off-Broadway at New York’s Public Theater and amassed a $60 million advance on Broadway. It has been cheered by politicians as diverse as Dick Cheney and President Barack Obama, and celebrities like British actress Helen Mirren, musician Questlove and many others.\u003c/p>\n\u003cp>The music is a mix of breezy pop, rap battles and slinky R&B. Lyrics are smart and playful, including Hamilton declaring: “In the face of ignorance and resistance/I wrote a financial system into existence.”\u003c/p>\n\u003cp>The Pulitzer drama award, which includes a $10,000 prize, is “for a distinguished play by an American author, preferably original in its source and dealing with American life,” according to the guidelines.\u003c/p>\n\u003cp>Previous playwrights honored include August Wilson, Edward Albee, Eugene O’Neill, Arthur Miller and Tennessee Williams. Recent winners include Annie Baker’s \u003cem>The Flick\u003c/em>, Ayad Akhtar’s \u003cem>Disgraced\u003c/em> and Stephen Adly Guirgis’s “Between Riverside and Crazy.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>——-\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Kanye West fan on Monday sued the rapper and the streaming service Tidal claiming they duped users into subscriptions based on the promise of being the exclusive outlet for West’s latest album.\u003c/p>\n\u003cp>The proposed class action lawsuit filed in U.S. District Court in San Francisco by Justin Baker-Rhett contends West fraudulently promised fans that his album, \u003cem>The Life of Pablo\u003c/em>, would only be available on Tidal. The site charges users at least $9.99 a month, but West’s album has since been released for free on Apple Music and Spotify.\u003c/p>\n\u003cp>Millions of people flocked to Tidal in February because of West’s new album and the rapper’s promise of exclusivity, giving the struggling site a boost and also a trove of user information, the lawsuit states. Baker-Rhett is asking a judge to order Tidal to delete information collected on users who signed up for West’s album.\u003c/p>\n\u003cp>“Mr. West’s promise of exclusivity also had a grave impact on consumer privacy,” the lawsuit states, noting that users’ credit card information, music preferences and other personal information have been collected.\u003c/p>\n\u003cp>The lawsuit contends the value of new subscribers and their personal information could be as much as $84 million for Tidal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Email messages sent to Tidal and West seeking comment were not immediately returned.\u003c/p>\n\u003cp>The lawsuit includes references to Twitter postings by West, including one from the rapper’s account that proclaimed, “My album will never never be on Apple. And it will never be for sale… You can only get it on Tidal.”\u003c/p>\n\u003cp>While the album isn’t for sale through many traditional outlets, West has sold it on his website. West is one of Tidal’s “owner-artists” who has a stake in the company.\u003c/p>\n\u003cp>“We fully support the right of artists to express themselves freely and creatively, however creative freedom is not a license to mislead the public,” Baker-Rhett’s attorney Jay Edelson wrote in a statement. “We believe that we will be able to prove to a jury that Mr. West and Tidal tricked millions of people into subscribing to their services and that they will ultimately be held accountable for what they did.”\u003c/p>\n\u003cp>The lawsuit also lists a company owned by rapper Jay Z, who controls Tidal and enlisted top musicians including West to promote the service, as a defendant. An email sent to Jay Z’s publicist on Monday was not immediately returned.\u003c/p>\n\u003cp>Releasing \u003cem>The Life of Pablo\u003c/em> on Tidal gave it an additional 2 million subscribers, the lawsuit states. The company has said the album was streamed more than 250 million times within the first 10 days of its release.\u003c/p>\n\u003cp>Tidal launched in October 2014 but was given a splashy debut at a March 2015 event in New York attended by Jay Z, Rihanna, Madonna, West and other top artists. Since then, it has struggled to gain subscribers.\u003c/p>\n\u003cp>Tidal recently threatened legal action against the Scandinavian company Apsiro, which sold Tidal to the business controlled by Jay Z, stating Apsiro overinflated its subscriber figures.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Kanye West fan on Monday sued the rapper and the streaming service Tidal claiming they duped users into subscriptions based on the promise of being the exclusive outlet for West’s latest album.\u003c/p>\n\u003cp>The proposed class action lawsuit filed in U.S. District Court in San Francisco by Justin Baker-Rhett contends West fraudulently promised fans that his album, \u003cem>The Life of Pablo\u003c/em>, would only be available on Tidal. The site charges users at least $9.99 a month, but West’s album has since been released for free on Apple Music and Spotify.\u003c/p>\n\u003cp>Millions of people flocked to Tidal in February because of West’s new album and the rapper’s promise of exclusivity, giving the struggling site a boost and also a trove of user information, the lawsuit states. Baker-Rhett is asking a judge to order Tidal to delete information collected on users who signed up for West’s album.\u003c/p>\n\u003cp>“Mr. West’s promise of exclusivity also had a grave impact on consumer privacy,” the lawsuit states, noting that users’ credit card information, music preferences and other personal information have been collected.\u003c/p>\n\u003cp>The lawsuit contends the value of new subscribers and their personal information could be as much as $84 million for Tidal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Email messages sent to Tidal and West seeking comment were not immediately returned.\u003c/p>\n\u003cp>The lawsuit includes references to Twitter postings by West, including one from the rapper’s account that proclaimed, “My album will never never be on Apple. And it will never be for sale… You can only get it on Tidal.”\u003c/p>\n\u003cp>While the album isn’t for sale through many traditional outlets, West has sold it on his website. West is one of Tidal’s “owner-artists” who has a stake in the company.\u003c/p>\n\u003cp>“We fully support the right of artists to express themselves freely and creatively, however creative freedom is not a license to mislead the public,” Baker-Rhett’s attorney Jay Edelson wrote in a statement. “We believe that we will be able to prove to a jury that Mr. West and Tidal tricked millions of people into subscribing to their services and that they will ultimately be held accountable for what they did.”\u003c/p>\n\u003cp>The lawsuit also lists a company owned by rapper Jay Z, who controls Tidal and enlisted top musicians including West to promote the service, as a defendant. An email sent to Jay Z’s publicist on Monday was not immediately returned.\u003c/p>\n\u003cp>Releasing \u003cem>The Life of Pablo\u003c/em> on Tidal gave it an additional 2 million subscribers, the lawsuit states. The company has said the album was streamed more than 250 million times within the first 10 days of its release.\u003c/p>\n\u003cp>Tidal launched in October 2014 but was given a splashy debut at a March 2015 event in New York attended by Jay Z, Rihanna, Madonna, West and other top artists. Since then, it has struggled to gain subscribers.\u003c/p>\n\u003cp>Tidal recently threatened legal action against the Scandinavian company Apsiro, which sold Tidal to the business controlled by Jay Z, stating Apsiro overinflated its subscriber figures.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "See How San Francisco Rebuilt 110 Years After the 1906 Quake",
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"content": "\u003cp>At 5:12 a.m., the shaking started 110 years ago today. The 7.8 magnitude earthquake and ensuing fires destroyed more than 80 percent of San Francisco and killed about 3,000 people.\u003c/p>\n\u003cp>The destruction inspired photographers from around the world and the 1906 earthquake became one of the first natural disasters widely documented with photos and early motion pictures.\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfgate.com/bayarea/article/New-S-F-archive-includes-stunning-photos-from-6207086.php\" target=\"_blank\">John Henry Mentz\u003c/a> worked as a staff photographer for United Railroads at the time. On April 18, and in the ensuing days, he took more than \u003ca href=\"http://sfmta.photoshelter.com/#!/index\" target=\"_blank\">200 images\u003c/a> with his large-format camera and created a case of 6 1/2-by-8 1/2 inch negative plates.\u003c/p>\n\u003cp>Three weeks later, \u003ca href=\"http://petapixel.com/2013/06/19/the-captive-airship-george-lawrences-panoramic-kite-photography-rig/\" target=\"_blank\">George Lawrence\u003c/a> shot his famous \"San Francisco in Ruins\" with a 49-pound camera flying about 2,000 feet above the bay with 17 Conyne kites strung together with piano wire cable.\u003c/p>\n\u003cp>Photographer Frederick Eugene Ives captured the destruction \u003ca href=\"http://americanhistory.si.edu/blog/2010/01/the-1906-san-francisco-quake-in-color.html\" target=\"_blank\">in color photographs\u003c/a> six months later, using a device called a Krőmgram.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because of their vision, we can stand before the surviving buildings and imagine what it felt like 110 years ago.\u003c/p>\n\u003cfigure id=\"attachment_10930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/mills2.jpg\" rel=\"attachment wp-att-10930496\">\u003cimg class=\"wp-image-10930506 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/mills2-800x270.jpg\" alt=\"\" width=\"800\" height=\"270\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-800x270.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-400x135.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-1180x399.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-960x325.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mills Building damaged after the 1906 earthquake and fire. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/boniface.jpg\" rel=\"attachment wp-att-10930488\">\u003cimg class=\"size-medium wp-image-10930488\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/boniface-800x281.jpg\" alt=\"St. Boniface Church after the 1906 earthquake and present day.\" width=\"800\" height=\"281\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-800x281.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-400x140.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-1180x414.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-960x337.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Boniface Church after the 1906 earthquake and present day. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/stfrancis.jpg\" rel=\"attachment wp-att-10930499\">\u003cimg class=\"size-medium wp-image-10930499\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/stfrancis-800x561.jpg\" alt=\"St. Francis Hotel after the earthquake and fire of April, 1906 and present day.\" width=\"800\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/stfrancis.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/stfrancis-400x281.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Francis Hotel after the earthquake and fire of April, 1906. Written on back: \"St. Francis Hotel + new wing in process of construction. Only damage was by fire. Powell + Geary.\" \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/kohl.jpg\" rel=\"attachment wp-att-10930503\">\u003cimg class=\"size-medium wp-image-10930503\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/kohl-800x479.jpg\" alt=\"California street at Montgomery. Ruins of the Kohl Building.\" width=\"800\" height=\"479\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/kohl.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/kohl-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California street at Montgomery. Ruins of the Kohl Building. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 5:12 a.m., the shaking started 110 years ago today. The 7.8 magnitude earthquake and ensuing fires destroyed more than 80 percent of San Francisco and killed about 3,000 people.\u003c/p>\n\u003cp>The destruction inspired photographers from around the world and the 1906 earthquake became one of the first natural disasters widely documented with photos and early motion pictures.\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfgate.com/bayarea/article/New-S-F-archive-includes-stunning-photos-from-6207086.php\" target=\"_blank\">John Henry Mentz\u003c/a> worked as a staff photographer for United Railroads at the time. On April 18, and in the ensuing days, he took more than \u003ca href=\"http://sfmta.photoshelter.com/#!/index\" target=\"_blank\">200 images\u003c/a> with his large-format camera and created a case of 6 1/2-by-8 1/2 inch negative plates.\u003c/p>\n\u003cp>Three weeks later, \u003ca href=\"http://petapixel.com/2013/06/19/the-captive-airship-george-lawrences-panoramic-kite-photography-rig/\" target=\"_blank\">George Lawrence\u003c/a> shot his famous \"San Francisco in Ruins\" with a 49-pound camera flying about 2,000 feet above the bay with 17 Conyne kites strung together with piano wire cable.\u003c/p>\n\u003cp>Photographer Frederick Eugene Ives captured the destruction \u003ca href=\"http://americanhistory.si.edu/blog/2010/01/the-1906-san-francisco-quake-in-color.html\" target=\"_blank\">in color photographs\u003c/a> six months later, using a device called a Krőmgram.\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>Because of their vision, we can stand before the surviving buildings and imagine what it felt like 110 years ago.\u003c/p>\n\u003cfigure id=\"attachment_10930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/mills2.jpg\" rel=\"attachment wp-att-10930496\">\u003cimg class=\"wp-image-10930506 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/mills2-800x270.jpg\" alt=\"\" width=\"800\" height=\"270\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-800x270.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-400x135.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-1180x399.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-960x325.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mills Building damaged after the 1906 earthquake and fire. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/boniface.jpg\" rel=\"attachment wp-att-10930488\">\u003cimg class=\"size-medium wp-image-10930488\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/boniface-800x281.jpg\" alt=\"St. Boniface Church after the 1906 earthquake and present day.\" width=\"800\" height=\"281\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-800x281.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-400x140.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-1180x414.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-960x337.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Boniface Church after the 1906 earthquake and present day. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/stfrancis.jpg\" rel=\"attachment wp-att-10930499\">\u003cimg class=\"size-medium wp-image-10930499\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/stfrancis-800x561.jpg\" alt=\"St. Francis Hotel after the earthquake and fire of April, 1906 and present day.\" width=\"800\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/stfrancis.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/stfrancis-400x281.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Francis Hotel after the earthquake and fire of April, 1906. Written on back: \"St. Francis Hotel + new wing in process of construction. Only damage was by fire. Powell + Geary.\" \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/kohl.jpg\" rel=\"attachment wp-att-10930503\">\u003cimg class=\"size-medium wp-image-10930503\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/kohl-800x479.jpg\" alt=\"California street at Montgomery. Ruins of the Kohl Building.\" width=\"800\" height=\"479\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/kohl.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/kohl-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California street at Montgomery. Ruins of the Kohl Building. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For decades, Telegraph Avenue has been the Boulevard of Unconventional Berkeley — a bohemian enclave, then the Free Speech Movement, anti-Vietnam War, People’s Park, hippies, punks, street people. Before the Big Changes of the late 1960s, on Telegraph you could buy out-of-town and foreign-language newspapers, croissants, espresso drinks, Turkish cigarettes and Gauloises.\u003c/p>\n\u003cp>You could watch foreign-language films at the Cinema Guild and Cinema Studio, and read what Pauline Kael had to say about the movies, and play chess, and everywhere was baroque music and folk music. There were boutiques and haberdasheries and art galleries and mom-and-pop grocery stores. And the used bookstores! What a world! We were Athens, this was our Bleecker Street, our Boulevard Saint-Michel with a touch, perhaps, of Bourbon Street and Dylan’s Desolation Row.\u003c/p>\n\u003cp>And then came the Big Changes. Telegraph became a battlefield in the late 1960s, literally and culturally. Telegraph Avenue between Haste Street and Dwight Way was the epicenter of countercultural change in Berkeley, and there exists a striking photographic documentation of that block at that time by Nacio Jan Brown.\u003c/p>\n\u003cp>Brown arrived in Berkeley as a freshman at Cal in the fall of 1960. In 1965, he started to photograph Berkeley in earnest. …\u003c/p>\n\u003cp>Many of Brown’s photographs documenting life on Telegraph Avenue were taken from the Med shooting across to the Rag Theatre clothing store, street level of an apartment house known not just a little facetiously as the Telegraph Hilton. His modus operandi was to arrive on the Avenue before the young people. He became part of the scene, not an outsider photographing it.\u003c/p>\n\u003cfigure id=\"attachment_10931226\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png\" rel=\"attachment wp-att-10931226\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png\" alt=\"Many of the photographs were of young teens who called themselves the Red Rockets and their youth auxiliary, the Mini Mob. Their classroom was Telegraph Avenue. Their family was each other.\" width=\"720\" height=\"460\" class=\"size-full wp-image-10931226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/04/Three-girls-720x460-400x256.png 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Many of the photographs were of young teens who called themselves the Red Rockets and their youth auxiliary, the Mini Mob. Their classroom was Telegraph Avenue. Their family was each other. \u003ccite>(Nacio Jan Brown via Berkeleyside)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown stopped shooting on Telegraph in 1973. He was exhausted. “There came a time when I just couldn’t shoot anymore.” Things were getting ugly. He continued having coffee at the Med regularly until the early 1980s, and then stopped going to Telegraph at all. Too ugly, too sad. Hard drugs and exploitation had slowly supplanted marijuana and hope/joy, even as he was shooting the block. The kids of Telegraph moved on. Many died young, way too many, casually disappearing. Some thrived in life, and look back on the years on Telegraph with appreciation and fondness. Some struggle still.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Read the full story and view more of Nacio Jan Brown’s photographs at Berkeleyside:\u003c/em>\u003cbr>\n\u003ca href=\"http://www.berkeleyside.com/2016/04/14/how-quirky-was-berkeley-the-riches-of-rag-theater/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>The Riches of Rag Theater: Nacio Jan Brown’s Berkeley\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Dalzell, a labor lawyer, created a website, \u003ca href=\"http://quirkyberkeley.com/\" target=\"_blank\" rel=\"noopener\">Quirky Berkeley\u003c/a>, to share all the whimsical local objects he has captured with his iPhone. The site now has more than 8,000 photographs of quirky objects around town as well as posts where the 30-year resident muses on what it all means.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, Telegraph Avenue has been the Boulevard of Unconventional Berkeley — a bohemian enclave, then the Free Speech Movement, anti-Vietnam War, People’s Park, hippies, punks, street people. Before the Big Changes of the late 1960s, on Telegraph you could buy out-of-town and foreign-language newspapers, croissants, espresso drinks, Turkish cigarettes and Gauloises.\u003c/p>\n\u003cp>You could watch foreign-language films at the Cinema Guild and Cinema Studio, and read what Pauline Kael had to say about the movies, and play chess, and everywhere was baroque music and folk music. There were boutiques and haberdasheries and art galleries and mom-and-pop grocery stores. And the used bookstores! What a world! We were Athens, this was our Bleecker Street, our Boulevard Saint-Michel with a touch, perhaps, of Bourbon Street and Dylan’s Desolation Row.\u003c/p>\n\u003cp>And then came the Big Changes. Telegraph became a battlefield in the late 1960s, literally and culturally. Telegraph Avenue between Haste Street and Dwight Way was the epicenter of countercultural change in Berkeley, and there exists a striking photographic documentation of that block at that time by Nacio Jan Brown.\u003c/p>\n\u003cp>Brown arrived in Berkeley as a freshman at Cal in the fall of 1960. In 1965, he started to photograph Berkeley in earnest. …\u003c/p>\n\u003cp>Many of Brown’s photographs documenting life on Telegraph Avenue were taken from the Med shooting across to the Rag Theatre clothing store, street level of an apartment house known not just a little facetiously as the Telegraph Hilton. His modus operandi was to arrive on the Avenue before the young people. He became part of the scene, not an outsider photographing it.\u003c/p>\n\u003cfigure id=\"attachment_10931226\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png\" rel=\"attachment wp-att-10931226\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png\" alt=\"Many of the photographs were of young teens who called themselves the Red Rockets and their youth auxiliary, the Mini Mob. Their classroom was Telegraph Avenue. Their family was each other.\" width=\"720\" height=\"460\" class=\"size-full wp-image-10931226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/04/Three-girls-720x460-400x256.png 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Many of the photographs were of young teens who called themselves the Red Rockets and their youth auxiliary, the Mini Mob. Their classroom was Telegraph Avenue. Their family was each other. \u003ccite>(Nacio Jan Brown via Berkeleyside)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown stopped shooting on Telegraph in 1973. He was exhausted. “There came a time when I just couldn’t shoot anymore.” Things were getting ugly. He continued having coffee at the Med regularly until the early 1980s, and then stopped going to Telegraph at all. Too ugly, too sad. Hard drugs and exploitation had slowly supplanted marijuana and hope/joy, even as he was shooting the block. The kids of Telegraph moved on. Many died young, way too many, casually disappearing. Some thrived in life, and look back on the years on Telegraph with appreciation and fondness. Some struggle still.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For 66-year-old Irma Iñiguez, dancing salsa is like a drug. “It’s very addictive,” she says. You can find her every second and fourth Sunday of the month at a San Francisco club called \u003ca href=\"http://www.elriosf.com/\">El Rio\u003c/a> for “Salsa Sunday.”\u003c/p>\n\u003cp>The Mission District bar opened in 1978 and its website describes itself as a “Leather Brazilian Gay Bar.” As for Salsa Sundays, a live band plays salsa music as the patio swells with dancers, young and old.\u003c/p>\n\u003cp>Iñiguez, an El Rio regular for the last 30 years, has witnessed firsthand the transformation of the club and the neighborhood. Nowadays, she says, salsa music isn’t geared mainly toward Latinos. She says it crosses over to mix with different genres -- like reggae and rumba -- to attract different folks.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/259318406\" 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>“People of all ages come here,” Iñiguez explains. “Transplants come here. People that are trying to figure out if they want to live here come here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says she has adapted to these changes with the help of life-long friends.\u003c/p>\n\u003cp>“There’s a group of us that I call the ‘Q-Tip heads,’ ” she says. “Of course, there’s those that dye their hair. But I know underneath that, they’re the Q-tip heads. And we all come here together. We dance together.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"M5FVkNaGqFAK6lKVCGtNmcfItPbe5ho4\"]\u003c/p>\n\u003cp>She even reconnected with high school friends at the bar and became Facebook friends.\u003c/p>\n\u003cp>Iñiguez, a Mexico City native, moved to the Mission with her family when she was 5 years old. As a child, she learned to dance from her father, who was also a dancer.\u003c/p>\n\u003cp>As a young adult, Iñiguez started going to dance clubs. She says the dancing was different from what she was used to.\u003c/p>\n\u003cp>“You know, everybody counted,” she recalls, “and they would ask me, ‘Do you dance on the eighth or the fourth?' and I was like, ‘I don’t know.’”\u003c/p>\n\u003cp>When she was in her 30s, she discovered El Rio and its “free spirit” atmosphere. She says you don’t have to worry about how you dance, “and everybody improvises and nobody cares if you stumble and fall.”\u003c/p>\n\u003cp>Around the time she discovered El Rio, Iñiguez became a salsa performer and was even the group’s personal makeup artist. Today she’s no longer performing in a salsa group, but you can still find her every “Salsa Sunday” on the El Rio dance floor sliding and swinging in the arms of other salsa dancers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And who cares if you’re a Q-tip head or a brown head or, you know, a black head or a red head, you know, nobody cares,” she says. “You know, it’s just everybody enjoying the rhythm of El Rio, the music, the people, the environment. I love it.”\u003c/p>\n\n",
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},
"californiareport": {
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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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 />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"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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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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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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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"source": "NPR"
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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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/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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",
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