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"content": "\u003cp>The \u003ca href=\"https://recordsetter.com/world-record/global-lightsaber-battle/45244\" target=\"_blank\" rel=\"noopener\">world record-breaking\u003c/a> Light Battle Tour, which drew large crowds during its stop in the Embarcadero’s Sue Bierman Park \u003ca href=\"http://www.ktvu.com/news/58937866-story\" target=\"_blank\" rel=\"noopener\">last December\u003c/a>, will now be known as \u003ca href=\"https://catsinspacetour.com/\" target=\"_blank\" rel=\"noopener\">Cats in Space Tour\u003c/a> after a legal settlement with trademark holder Lucasfilm, according to an \u003ca href=\"https://catsinspacetour.com/blogs/news/118143171-statement-re-legal-settlement-with-lucasfilm-cats-in-space-launch\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> on the event’s website.\u003c/p>\n\u003cp>According to the post, the \u003ca href=\"http://ww2.kqed.org/news/2012/10/30/disney-buys-lucasfilm-and-makes-a-star-wars-sequel\" target=\"_blank\" rel=\"noopener\">Disney-helmed Lucasfilm\u003c/a> first approached Canadian non-profit \u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a> with a cease-and-desist in January over the use of the words the words “lightsaber,” “Jedi,” “Sith,” and “The Force.” Then in March, they followed up with another notice over the similarity of the name “Light Battle Tour” to the company’s trademark.\u003c/p>\n\u003cp>As per the settlement, event coordinators re-branded the event to “Cats in Space Tour,” but assure attendees that previous registrations will still be honored and that the event shall proceed as usual. The battle between Space Cats and Space Mice rages on, with the inclusion of the weapon that is clearly not a lightsaber, but a “cat blade”.\u003c/p>\n\u003cfigure id=\"attachment_11488074\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488074\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg\" alt=\"Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade.jpg 900w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \u003ccite>(Photo: Courtesy of Cats in Space Tour. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Cats in Space is a fun, playful series of Space Battles where participants can fight with fantasy weapons, laser guns, and more, while enjoying original artwork on T-shirts that benefit charity,” co-founder Kevin Bracken states in the post.\u003c/p>\n\u003cp>\u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a>, which has been organizing large-scale events in 2005, first launched their Light Battle Tour events in 2007 at the \u003ca href=\"https://www.youtube.com/watch?v=DCV4EK7hVkU\" target=\"_blank\" rel=\"noopener\">Royal Ontario Museum\u003c/a> in Toronto and has since expanded to over ten cities across the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Cats in Space Tour kicks off in Downtown San Jose’s St. James Park on Saturday, Apr. 30. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://recordsetter.com/world-record/global-lightsaber-battle/45244\" target=\"_blank\" rel=\"noopener\">world record-breaking\u003c/a> Light Battle Tour, which drew large crowds during its stop in the Embarcadero’s Sue Bierman Park \u003ca href=\"http://www.ktvu.com/news/58937866-story\" target=\"_blank\" rel=\"noopener\">last December\u003c/a>, will now be known as \u003ca href=\"https://catsinspacetour.com/\" target=\"_blank\" rel=\"noopener\">Cats in Space Tour\u003c/a> after a legal settlement with trademark holder Lucasfilm, according to an \u003ca href=\"https://catsinspacetour.com/blogs/news/118143171-statement-re-legal-settlement-with-lucasfilm-cats-in-space-launch\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> on the event’s website.\u003c/p>\n\u003cp>According to the post, the \u003ca href=\"http://ww2.kqed.org/news/2012/10/30/disney-buys-lucasfilm-and-makes-a-star-wars-sequel\" target=\"_blank\" rel=\"noopener\">Disney-helmed Lucasfilm\u003c/a> first approached Canadian non-profit \u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a> with a cease-and-desist in January over the use of the words the words “lightsaber,” “Jedi,” “Sith,” and “The Force.” Then in March, they followed up with another notice over the similarity of the name “Light Battle Tour” to the company’s trademark.\u003c/p>\n\u003cp>As per the settlement, event coordinators re-branded the event to “Cats in Space Tour,” but assure attendees that previous registrations will still be honored and that the event shall proceed as usual. The battle between Space Cats and Space Mice rages on, with the inclusion of the weapon that is clearly not a lightsaber, but a “cat blade”.\u003c/p>\n\u003cfigure id=\"attachment_11488074\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488074\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg\" alt=\"Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade.jpg 900w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \u003ccite>(Photo: Courtesy of Cats in Space Tour. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Cats in Space is a fun, playful series of Space Battles where participants can fight with fantasy weapons, laser guns, and more, while enjoying original artwork on T-shirts that benefit charity,” co-founder Kevin Bracken states in the post.\u003c/p>\n\u003cp>\u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a>, which has been organizing large-scale events in 2005, first launched their Light Battle Tour events in 2007 at the \u003ca href=\"https://www.youtube.com/watch?v=DCV4EK7hVkU\" target=\"_blank\" rel=\"noopener\">Royal Ontario Museum\u003c/a> in Toronto and has since expanded to over ten cities across the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'You Couldn't Help But Be The Student': Remembering Tony Conrad",
"headTitle": "‘You Couldn’t Help But Be The Student’: Remembering Tony Conrad | KQED",
"content": "\u003cp>Tony Conrad’s violin was a suture on the soul. Using those droning strings, he conjured bracing and beautiful hues between colors, between notes, between worlds. The experimental musician, composer and filmmaker who was a key component of the ’60s Lower Manhattan art scene — and who never really stopped innovating — died Saturday of pneumonia at the age of 76.\u003c/p>\n\u003cp>Conrad’s influence and discography goes wide. Playing alongside La Monte Young, \u003ca href=\"http://www.npr.org/artists/17090462/john-cale\" target=\"_blank\" rel=\"noopener\">John Cale\u003c/a>, Angus MacLise and Marian Zazeela in the Theatre of Eternal Music (a.k.a. The Dream Syndicate), he introduced drone music to Western audiences. In the mid-’60s, Conrad and Cale were recruited to back a short-lived band called The Primitives featuring a young \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a> — Conrad left, but the remaining members would start \u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">The Velvet Underground\u003c/a>. His 1973 album \u003cem>Outside The Dream Syndicate\u003c/em>, recorded with the German band Faust, became a benchmark of minimalism, thudding with motorik rhythm and lost in Conrad’s kaleidoscopic violin. From the ’90s onward, his recorded works grew exponentially, including collaborations with the likes of Charlemagne Palestine, \u003ca href=\"http://www.npr.org/artists/121639212/jim-o-rourke\" target=\"_blank\" rel=\"noopener\">Jim O’Rourke\u003c/a>, MV Carbon, Genesis Breyer P-Orridge and David Grubbs, among others.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FGMnDcwoXns\u003c/p>\n\u003cp>Over the weekend, while many praised Conrad’s musical innovation and inspiration, those who knew him intimately, spoke of his natural gift to teach. Since 1976, he had been a faculty member at SUNY-Buffalo, where he taught media studies — writer Brandon Stosuy has a \u003ca href=\"http://pitchfork.com/thepitch/1094-remembering-my-friend-tony-conrad-and-his-eternal-music/\" target=\"_blank\" rel=\"noopener\">touching essay\u003c/a> on his time as a student there that’s worth reading. But Conrad was also open beyond his academic duties, freely sharing his knowledge and wisdom. Even in the briefest of moments, Conrad could turn an offhand comment into a meditation. Before a gig at the now-shuttered Brooklyn space New York Paris London West Nile, clarinetist and composer \u003ca href=\"http://www.npr.org/artists/464329445/jeremiah-cymerman\">Jeremiah Cymerman\u003c/a> told Conrad he could barely play a note on the bass clarinet. Tony’s response was, “You only need one note, as long it’s the right note.”\u003c/p>\n\u003cp>“For somebody of his stature, he had no airs,” guitarist \u003ca href=\"http://www.npr.org/artists/341656889/chris-forsyth\" target=\"_blank\" rel=\"noopener\">Chris Forsyth\u003c/a> says of his time taking a workshop with Tony Conrad.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Forsyth is one of six musicians and composers with whom I talked about Conrad’s role as a teacher — not only a professor, but also a guide onstage and in practice rooms, often with people generations removed. “I think that he genuinely wanted to be around people who were not jaded,” says David Grubbs, “and that generally meant younger people.” Conrad built a community on which he not only imparted history and insight but that he also supported by constantly attending shows and improvising with its new breed of experimentalists. Grubbs, C. Spencer Yeh, Jennifer Walshe, Chris Forsyth, \u003ca href=\"http://www.npr.org/artists/95052631/mercury-rev\" target=\"_blank\" rel=\"noopener\">Mercury Rev\u003c/a>‘s Sean “Grasshopper” Mackowiak and Ben Vida (Bird Show, Town and Country) all share their stories, which showcase Conrad’s gently challenging methods. And in his own undefinable way, it also turns out that Tony Conrad was a helluva cut-up.\u003c/p>\n\u003chr>\n\u003ch3>David Grubbs\u003c/h3>\n\u003cp>\u003cem>Grubbs met Conrad in 1994, as a member of the band Gastr Del Sol with Jim O’Rourke, and not long after found himself in Chicago, recording \u003ca href=\"https://www.youtube.com/watch?v=virk_cjfBt8\" target=\"_blank\" rel=\"noopener\">Slapping Pythagoras\u003c/a>\u003c/em>\u003cem>. Afterwards, the two remained colleagues and friends.\u003c/em>\u003c/p>\n\u003cp>My first encounter with him was in the studio at Steve Albini’s house, there were six guitar players and it was already a little bit like a classroom situation. You know, we were all in a row with our guitars horizontally in front of us — and Tony. The first thing that he said was, “Okay, who has the loudest ground hum from your guitar?” And somebody had a guitar with a single-coil pickup and Tony said, “Okay, turn the amp up to 10, and okay that’s a 60-cycle hum, and we’re going to use that as the root tone and we’re all going to tune on whole-number fraction intervals related to that.” So it was already like being in a class, or taking a workshop from Tony the second that you started playing music with him.\u003c/p>\n\u003cp>He was really one of the most Socratic and radically egalitarian people I’ve ever met, but he was just so f****** brilliant that he couldn’t help but be the teacher, or you couldn’t help but be the student. And it was always delivered with this incredible humor. Without fail, one of the consistently most hilarious people that you could ever hope to meet. You know, you’d just bust a gut laughing around him. If that’s one of his qualities as a teacher, then that’s an incredible quality to bring to that kind of pedagogical situation.\u003c/p>\n\u003cp>And also, let’s go ahead and say it, he was the most brilliant, the smartest. I have a kid in grade school and people are very concerned like, “Who’s the smartest?” As an adult, I never ever think things like, “Who’s smarter than whom?” except maybe with reference to Tony, where I’m like, obviously, he was head and shoulders so much smarter than everybody around him. But he never seemed to hold it against people. [Laughs.] Everybody was dumber than he was.\u003c/p>\n\u003chr>\n\u003ch3>C. Spencer Yeh\u003c/h3>\n\u003cp>\u003cem>The Brooklyn-based musician would cross paths Conrad while touring through Buffalo, and would release an \u003ca href=\"http://www.picadisk.com/pica013.html\" target=\"_blank\" rel=\"noopener\">excellent album\u003c/a> with him in 2010. \u003c/em>\u003c/p>\n\u003cp>I knew Tony first as a distant legend, then as an astounding presence and curious personality, and finally as a friend, a fellow artist in the present. When I say “fellow artist,” I mean less about how I perceive my work next to his, but rather as a compliment to how he was – that he didn’t go the route of hiding himself away, rarefying himself, halting his achievement and living in the past. I don’t know how else to put it other than he was always “present.” He was one of the few idols of mine that I wanted to work and hang out with, and to talk to.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jt7A5vW_LEg\u003c/p>\n\u003cp>I first got to know Tony’s work while in school in Chicago in the ’90s, both in film/video through class with my professor Tom Gunning, and in music/sound (the college radio station WNUR, being a spectator in the scene at the time through working with the record label, Skin Graft, and being around people like David Grubbs and Jim O’Rourke). From there, touring and crossing paths with Tony, getting to know him and starting to work with him (both collaboratively as well as being in performances of his works), then by moving to New York, living in the same neighborhood, checking out the same shows or art events. He’d been there all along in my own development of whatever it is I’m trying to do, and my developing relationship with Tony was an evolving life lesson on how to be an artist – how to “be” an artist, as in to “be” in the world, and whatever thing you had done doesn’t put you above (or below) others, and that you don’t have to isolate yourself from the present to be taken seriously and deeply. Learning that being an artist extends beyond the objects or sounds or light you make – that it’s how you think, how you carry yourself, how you “be” in the world.\u003c/p>\n\u003cp>There were two ways he could explain things. One was the “Tony” way, just a dazzle of theories and knowledge, provocation. Then, there was the way we are when we are all just trying to get by – warm and grounded. I thought I would be able to see Tony around NYC forever, to rely on the next time I get to see that smile and hear that chuckle, or the storm of frustrated curses when his mishmash of electronics would start feeding back.\u003c/p>\n\u003chr>\n\u003ch3>Jennifer Walshe\u003c/h3>\n\u003cp>\u003cem>The Irish vocalist, composer and improviser Jennifer Walshe met Conrad at the Electric Eclectics festival in 2008. Though she is now based in London, the two would meet weekly in each other’s New York apartments to jam on whatever instruments were available. They were set to mix their duo album in May. \u003c/em>\u003c/p>\n\u003cp>The one thing that I felt with Tony was that anything was up for grabs. You could just do whatever the hell you wanted and as long as you were focused, and as long as you were in it, that was good. He said to me, “I think you should use text. I don’t understand why there’s this disconnect.” When I say text, I mean the text is completely linked with what the voice is doing. It’s not slam poetry or something like that. It’s just weird stories or weird snippets of text. He wrote this text that about a tiny puppy s****** on the street. He was like, “This is where we should begin!” I was like, “This is insane.” But it made me push, and it made me think about why I never used text in improvisation before.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/473926469/473930952\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>When we started playing together, he was 69. I would say, “I can’t believe I’m playing with this 69-year-old guy and I feel more liberated than I do when I play with a 23-year-old noise kid.” David [Grubbs] knew him in the ’90s when he would have been in his 50s, but I only got to know Tony in his very late 60s and his 70s. What I saw was somebody who could tell me, “Here are the most important artistic moments in my life where I realized this is absolute s***. I want to develop the next 5-10 years.” He could have easily said, “I’m the drone guy,” and lived out the rest of his life. That’s somebody who’s always learning and that’s going to be with me forever.\u003c/p>\n\u003cp>He wrote me a reference and I’m now a reader (which is the U.K. equivalent of a professor) at Brunel University in London. He would give me teaching advise, which he claimed he got from an in-flight magazine. [Laughs.] He said, “What you do is you ask them a question and you pretend to write something down. And nobody will answer. And you just keep pretending that you’re writing something down until it becomes agonizing. Then one of them will eventually talk.” he said, “That’s what I read in an in-flight magazine.” [Laughs.]\u003c/p>\n\u003chr>\n\u003ch3>Chris Forsyth\u003c/h3>\n\u003cp>\u003cem>The Philadelphia-based guitarist has been releasing records with the Solar Motel Band since 2013, but around 2007, at the tail end of his time with the Brooklyn experimental rockers Peeesseye, Forsyth took a month-long workshop with Conrad who bashed the \u003ca href=\"https://en.wikipedia.org/wiki/Pythagorean_tuning\" target=\"_blank\" rel=\"noopener\">Pythagorean influence\u003c/a> on Western music and opened Forsyth’s ears and eyes.\u003c/em>\u003c/p>\n\u003cp>He held a workshop every Sunday afternoon with maybe 30 people at each one — it was mostly experimental-music and noise people. In other words, not people who were virtuosos or trained — a lot of aesthetically ambitious but technically primitive players. He was teaching music theory to them. I felt like, looking around the room, I maybe had a little bit more grounding in that stuff than others, but my grounding in it was ultra conventional — it was the stuff that Tony was taking apart. Like, [Television guitarist] Richard Lloyd held Pythagoras in very high esteem. Tony Conrad did not. It was about undermining the authority of this figure that dominated Western music theory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HveVIhfO8Rs\u003c/p>\n\u003cp>I wouldn’t want to be responsible for giving an explanation the way he broke down the flaws in Pythagorean musical theory, but he talked about it as the original sin of Western civilization. He said that when we stepped away from the natural ratios — because it was more convenient to have all the notes equally tempered — that’s when things started to really go wrong. This really appealed to me as someone who has issues with authority.\u003c/p>\n\u003cp>But he also tied it into this whole outlook on one’s place in the world and in our culture. He made it really present because it was about taking down the hierarchies exist that run our world and run our lives. He talked about music as the foundation of civilization. Because of the way that music is set up, it instills all these kinds of values, which dominate our culture today. It was empowering. It was a lens through which you could understand these complex systems both in music, which can be really arcane and mathematical, but he also put it into this real world context. He was an enthusiastic, authentic teacher — he was so invested in what we was telling everybody.\u003c/p>\n\u003chr>\n\u003ch3>Sean “Grasshopper” Mackowiak\u003c/h3>\n\u003cp>\u003cem>In autumn 1984, Mackowiak, a founding member of the band Mercury Rev, went to SUNY-Buffalo, but quickly became disillusioned with his mathematics and engineering major. Not long after he started auditing Tony Conrad’s class, he switched to media studies and spent the next four years with him.\u003c/em>\u003c/p>\n\u003cp>His brilliance and curiosity were infectious. He was a natural raconteur, telling stories, seamlessly connecting the history of classical music, avant-garde music, film, pop culture, video, performance art, cultural studies, mathematics, psychology, philosophy, alchemy, etc. in ways I had never imagined. The class was called “Electronic Image Analysis,” but we would talk about Fluxus, The Situationists, the music of Harry Partch, the films of Harry Smith, anything and everything. All very enlightening stuff! There was no Internet then, you couldn’t Google this stuff — he had it all in his head and shared it with us. He had encyclopedic knowledge of arts, culture, history, science, and alchemy from pre-Greek civilization to the present.\u003c/p>\n\u003cp>One of the first assignments he had the class do was to pick a film or piece of music that we personally strongly disliked, and write about it in a very positive way. Then the next week, we were to do the opposite, pick something we liked and totally trash it. That was an amazing exercise in opening the mind up to questioning: “What is high-brow? What is low-brow? What is good art and what is bad art?” One starts to realize that those questions are all somewhat subjective to the time and cultural circumstantial moment. The distinctions between Folk Art/Folk Music and the “Classics” were erased. Tony took Robert Creeley’s statement that “Form is never more than an extension of content” and flipped it to “Content is never more than an extension of form.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZJbqnztjkbs\u003c/p>\n\u003cp>He told me to be wary of being labeled. Be wary of being in a “movement.” He said that whenever he was labeled something — a “minimalist” or “structural filmmaker” — he usually abandoned what he was doing and wiped the slate clean.\u003c/p>\n\u003cp>I sat next to him at a lecture that \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> was giving in Buffalo at Hallwalls and he fell asleep during it. I don’t know if he was faking it or really asleep, but it was perfect! His day to day life was like a giant performance art piece.\u003c/p>\n\u003chr>\n\u003ch3>Ben Vida\u003c/h3>\n\u003cp>\u003cem>Tony Conrad and Vida’s old band Town and Country toured together in 2004. Conrad showed Vida that art transcended medium.\u003c/em>\u003c/p>\n\u003cp>My first memory has to do with going to see Tony present some of his films. This was perhaps 1997. It was at a venue in Chicago called the Lunar Cabaret. In the audience, if memory serves, was Jim O’Rourke, David Grubbs, John Corbett and only a few others. Tony presented the films almost as a performance. His presence and storytelling was as illuminating as the work itself. So much humor, intelligence and generous energy — and always mischievous. For me it was a formative moment where I started to understand the porousness between artistic processes. That, in the right hands, mediums were mutable and that performance could be a more more expansive practice.\u003c/p>\n\u003cp>When I was back in school getting my MFA, Tony came in as a guest instructor. He stirred s*** up so effortlessly and with such intelligence. He brought a point of view that was, at once, in touch with the old avant-garde but also completely present and contemporary. I remember him saying to a group of students something like, “It’s okay if I don’t like your work. I shouldn’t like it. We are from different generations.” I took this to mean that the work of a young artist today shouldn’t sit easily with an older artist — you’re supposed to be pushing beyond what has come before, and in that, there should be distortions and disconnects. It shouldn’t be easy.\u003c/p>\n\u003cp>As my own practice has continued to evolve, and I find myself oscillating between the music and art worlds, Tony’s writing and lectures and music and art continue to inform how I see and listen and think about things. I don’t think he ever stopped experimenting. And I don’t think he ever stopped pushing. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-CQBe2mNW60\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27You+Couldn%27t+Help+But+Be+The+Student%27%3A+Remembering+Tony+Conrad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tony Conrad’s violin was a suture on the soul. Using those droning strings, he conjured bracing and beautiful hues between colors, between notes, between worlds. The experimental musician, composer and filmmaker who was a key component of the ’60s Lower Manhattan art scene — and who never really stopped innovating — died Saturday of pneumonia at the age of 76.\u003c/p>\n\u003cp>Conrad’s influence and discography goes wide. Playing alongside La Monte Young, \u003ca href=\"http://www.npr.org/artists/17090462/john-cale\" target=\"_blank\" rel=\"noopener\">John Cale\u003c/a>, Angus MacLise and Marian Zazeela in the Theatre of Eternal Music (a.k.a. The Dream Syndicate), he introduced drone music to Western audiences. In the mid-’60s, Conrad and Cale were recruited to back a short-lived band called The Primitives featuring a young \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a> — Conrad left, but the remaining members would start \u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">The Velvet Underground\u003c/a>. His 1973 album \u003cem>Outside The Dream Syndicate\u003c/em>, recorded with the German band Faust, became a benchmark of minimalism, thudding with motorik rhythm and lost in Conrad’s kaleidoscopic violin. From the ’90s onward, his recorded works grew exponentially, including collaborations with the likes of Charlemagne Palestine, \u003ca href=\"http://www.npr.org/artists/121639212/jim-o-rourke\" target=\"_blank\" rel=\"noopener\">Jim O’Rourke\u003c/a>, MV Carbon, Genesis Breyer P-Orridge and David Grubbs, among others.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FGMnDcwoXns'\n title='//www.youtube.com/embed/FGMnDcwoXns'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over the weekend, while many praised Conrad’s musical innovation and inspiration, those who knew him intimately, spoke of his natural gift to teach. Since 1976, he had been a faculty member at SUNY-Buffalo, where he taught media studies — writer Brandon Stosuy has a \u003ca href=\"http://pitchfork.com/thepitch/1094-remembering-my-friend-tony-conrad-and-his-eternal-music/\" target=\"_blank\" rel=\"noopener\">touching essay\u003c/a> on his time as a student there that’s worth reading. But Conrad was also open beyond his academic duties, freely sharing his knowledge and wisdom. Even in the briefest of moments, Conrad could turn an offhand comment into a meditation. Before a gig at the now-shuttered Brooklyn space New York Paris London West Nile, clarinetist and composer \u003ca href=\"http://www.npr.org/artists/464329445/jeremiah-cymerman\">Jeremiah Cymerman\u003c/a> told Conrad he could barely play a note on the bass clarinet. Tony’s response was, “You only need one note, as long it’s the right note.”\u003c/p>\n\u003cp>“For somebody of his stature, he had no airs,” guitarist \u003ca href=\"http://www.npr.org/artists/341656889/chris-forsyth\" target=\"_blank\" rel=\"noopener\">Chris Forsyth\u003c/a> says of his time taking a workshop with Tony Conrad.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Forsyth is one of six musicians and composers with whom I talked about Conrad’s role as a teacher — not only a professor, but also a guide onstage and in practice rooms, often with people generations removed. “I think that he genuinely wanted to be around people who were not jaded,” says David Grubbs, “and that generally meant younger people.” Conrad built a community on which he not only imparted history and insight but that he also supported by constantly attending shows and improvising with its new breed of experimentalists. Grubbs, C. Spencer Yeh, Jennifer Walshe, Chris Forsyth, \u003ca href=\"http://www.npr.org/artists/95052631/mercury-rev\" target=\"_blank\" rel=\"noopener\">Mercury Rev\u003c/a>‘s Sean “Grasshopper” Mackowiak and Ben Vida (Bird Show, Town and Country) all share their stories, which showcase Conrad’s gently challenging methods. And in his own undefinable way, it also turns out that Tony Conrad was a helluva cut-up.\u003c/p>\n\u003chr>\n\u003ch3>David Grubbs\u003c/h3>\n\u003cp>\u003cem>Grubbs met Conrad in 1994, as a member of the band Gastr Del Sol with Jim O’Rourke, and not long after found himself in Chicago, recording \u003ca href=\"https://www.youtube.com/watch?v=virk_cjfBt8\" target=\"_blank\" rel=\"noopener\">Slapping Pythagoras\u003c/a>\u003c/em>\u003cem>. Afterwards, the two remained colleagues and friends.\u003c/em>\u003c/p>\n\u003cp>My first encounter with him was in the studio at Steve Albini’s house, there were six guitar players and it was already a little bit like a classroom situation. You know, we were all in a row with our guitars horizontally in front of us — and Tony. The first thing that he said was, “Okay, who has the loudest ground hum from your guitar?” And somebody had a guitar with a single-coil pickup and Tony said, “Okay, turn the amp up to 10, and okay that’s a 60-cycle hum, and we’re going to use that as the root tone and we’re all going to tune on whole-number fraction intervals related to that.” So it was already like being in a class, or taking a workshop from Tony the second that you started playing music with him.\u003c/p>\n\u003cp>He was really one of the most Socratic and radically egalitarian people I’ve ever met, but he was just so f****** brilliant that he couldn’t help but be the teacher, or you couldn’t help but be the student. And it was always delivered with this incredible humor. Without fail, one of the consistently most hilarious people that you could ever hope to meet. You know, you’d just bust a gut laughing around him. If that’s one of his qualities as a teacher, then that’s an incredible quality to bring to that kind of pedagogical situation.\u003c/p>\n\u003cp>And also, let’s go ahead and say it, he was the most brilliant, the smartest. I have a kid in grade school and people are very concerned like, “Who’s the smartest?” As an adult, I never ever think things like, “Who’s smarter than whom?” except maybe with reference to Tony, where I’m like, obviously, he was head and shoulders so much smarter than everybody around him. But he never seemed to hold it against people. [Laughs.] Everybody was dumber than he was.\u003c/p>\n\u003chr>\n\u003ch3>C. Spencer Yeh\u003c/h3>\n\u003cp>\u003cem>The Brooklyn-based musician would cross paths Conrad while touring through Buffalo, and would release an \u003ca href=\"http://www.picadisk.com/pica013.html\" target=\"_blank\" rel=\"noopener\">excellent album\u003c/a> with him in 2010. \u003c/em>\u003c/p>\n\u003cp>I knew Tony first as a distant legend, then as an astounding presence and curious personality, and finally as a friend, a fellow artist in the present. When I say “fellow artist,” I mean less about how I perceive my work next to his, but rather as a compliment to how he was – that he didn’t go the route of hiding himself away, rarefying himself, halting his achievement and living in the past. I don’t know how else to put it other than he was always “present.” He was one of the few idols of mine that I wanted to work and hang out with, and to talk to.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Jt7A5vW_LEg'\n title='//www.youtube.com/embed/Jt7A5vW_LEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I first got to know Tony’s work while in school in Chicago in the ’90s, both in film/video through class with my professor Tom Gunning, and in music/sound (the college radio station WNUR, being a spectator in the scene at the time through working with the record label, Skin Graft, and being around people like David Grubbs and Jim O’Rourke). From there, touring and crossing paths with Tony, getting to know him and starting to work with him (both collaboratively as well as being in performances of his works), then by moving to New York, living in the same neighborhood, checking out the same shows or art events. He’d been there all along in my own development of whatever it is I’m trying to do, and my developing relationship with Tony was an evolving life lesson on how to be an artist – how to “be” an artist, as in to “be” in the world, and whatever thing you had done doesn’t put you above (or below) others, and that you don’t have to isolate yourself from the present to be taken seriously and deeply. Learning that being an artist extends beyond the objects or sounds or light you make – that it’s how you think, how you carry yourself, how you “be” in the world.\u003c/p>\n\u003cp>There were two ways he could explain things. One was the “Tony” way, just a dazzle of theories and knowledge, provocation. Then, there was the way we are when we are all just trying to get by – warm and grounded. I thought I would be able to see Tony around NYC forever, to rely on the next time I get to see that smile and hear that chuckle, or the storm of frustrated curses when his mishmash of electronics would start feeding back.\u003c/p>\n\u003chr>\n\u003ch3>Jennifer Walshe\u003c/h3>\n\u003cp>\u003cem>The Irish vocalist, composer and improviser Jennifer Walshe met Conrad at the Electric Eclectics festival in 2008. Though she is now based in London, the two would meet weekly in each other’s New York apartments to jam on whatever instruments were available. They were set to mix their duo album in May. \u003c/em>\u003c/p>\n\u003cp>The one thing that I felt with Tony was that anything was up for grabs. You could just do whatever the hell you wanted and as long as you were focused, and as long as you were in it, that was good. He said to me, “I think you should use text. I don’t understand why there’s this disconnect.” When I say text, I mean the text is completely linked with what the voice is doing. It’s not slam poetry or something like that. It’s just weird stories or weird snippets of text. He wrote this text that about a tiny puppy s****** on the street. He was like, “This is where we should begin!” I was like, “This is insane.” But it made me push, and it made me think about why I never used text in improvisation before.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/473926469/473930952\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>When we started playing together, he was 69. I would say, “I can’t believe I’m playing with this 69-year-old guy and I feel more liberated than I do when I play with a 23-year-old noise kid.” David [Grubbs] knew him in the ’90s when he would have been in his 50s, but I only got to know Tony in his very late 60s and his 70s. What I saw was somebody who could tell me, “Here are the most important artistic moments in my life where I realized this is absolute s***. I want to develop the next 5-10 years.” He could have easily said, “I’m the drone guy,” and lived out the rest of his life. That’s somebody who’s always learning and that’s going to be with me forever.\u003c/p>\n\u003cp>He wrote me a reference and I’m now a reader (which is the U.K. equivalent of a professor) at Brunel University in London. He would give me teaching advise, which he claimed he got from an in-flight magazine. [Laughs.] He said, “What you do is you ask them a question and you pretend to write something down. And nobody will answer. And you just keep pretending that you’re writing something down until it becomes agonizing. Then one of them will eventually talk.” he said, “That’s what I read in an in-flight magazine.” [Laughs.]\u003c/p>\n\u003chr>\n\u003ch3>Chris Forsyth\u003c/h3>\n\u003cp>\u003cem>The Philadelphia-based guitarist has been releasing records with the Solar Motel Band since 2013, but around 2007, at the tail end of his time with the Brooklyn experimental rockers Peeesseye, Forsyth took a month-long workshop with Conrad who bashed the \u003ca href=\"https://en.wikipedia.org/wiki/Pythagorean_tuning\" target=\"_blank\" rel=\"noopener\">Pythagorean influence\u003c/a> on Western music and opened Forsyth’s ears and eyes.\u003c/em>\u003c/p>\n\u003cp>He held a workshop every Sunday afternoon with maybe 30 people at each one — it was mostly experimental-music and noise people. In other words, not people who were virtuosos or trained — a lot of aesthetically ambitious but technically primitive players. He was teaching music theory to them. I felt like, looking around the room, I maybe had a little bit more grounding in that stuff than others, but my grounding in it was ultra conventional — it was the stuff that Tony was taking apart. Like, [Television guitarist] Richard Lloyd held Pythagoras in very high esteem. Tony Conrad did not. It was about undermining the authority of this figure that dominated Western music theory.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HveVIhfO8Rs'\n title='//www.youtube.com/embed/HveVIhfO8Rs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I wouldn’t want to be responsible for giving an explanation the way he broke down the flaws in Pythagorean musical theory, but he talked about it as the original sin of Western civilization. He said that when we stepped away from the natural ratios — because it was more convenient to have all the notes equally tempered — that’s when things started to really go wrong. This really appealed to me as someone who has issues with authority.\u003c/p>\n\u003cp>But he also tied it into this whole outlook on one’s place in the world and in our culture. He made it really present because it was about taking down the hierarchies exist that run our world and run our lives. He talked about music as the foundation of civilization. Because of the way that music is set up, it instills all these kinds of values, which dominate our culture today. It was empowering. It was a lens through which you could understand these complex systems both in music, which can be really arcane and mathematical, but he also put it into this real world context. He was an enthusiastic, authentic teacher — he was so invested in what we was telling everybody.\u003c/p>\n\u003chr>\n\u003ch3>Sean “Grasshopper” Mackowiak\u003c/h3>\n\u003cp>\u003cem>In autumn 1984, Mackowiak, a founding member of the band Mercury Rev, went to SUNY-Buffalo, but quickly became disillusioned with his mathematics and engineering major. Not long after he started auditing Tony Conrad’s class, he switched to media studies and spent the next four years with him.\u003c/em>\u003c/p>\n\u003cp>His brilliance and curiosity were infectious. He was a natural raconteur, telling stories, seamlessly connecting the history of classical music, avant-garde music, film, pop culture, video, performance art, cultural studies, mathematics, psychology, philosophy, alchemy, etc. in ways I had never imagined. The class was called “Electronic Image Analysis,” but we would talk about Fluxus, The Situationists, the music of Harry Partch, the films of Harry Smith, anything and everything. All very enlightening stuff! There was no Internet then, you couldn’t Google this stuff — he had it all in his head and shared it with us. He had encyclopedic knowledge of arts, culture, history, science, and alchemy from pre-Greek civilization to the present.\u003c/p>\n\u003cp>One of the first assignments he had the class do was to pick a film or piece of music that we personally strongly disliked, and write about it in a very positive way. Then the next week, we were to do the opposite, pick something we liked and totally trash it. That was an amazing exercise in opening the mind up to questioning: “What is high-brow? What is low-brow? What is good art and what is bad art?” One starts to realize that those questions are all somewhat subjective to the time and cultural circumstantial moment. The distinctions between Folk Art/Folk Music and the “Classics” were erased. Tony took Robert Creeley’s statement that “Form is never more than an extension of content” and flipped it to “Content is never more than an extension of form.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZJbqnztjkbs'\n title='//www.youtube.com/embed/ZJbqnztjkbs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He told me to be wary of being labeled. Be wary of being in a “movement.” He said that whenever he was labeled something — a “minimalist” or “structural filmmaker” — he usually abandoned what he was doing and wiped the slate clean.\u003c/p>\n\u003cp>I sat next to him at a lecture that \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> was giving in Buffalo at Hallwalls and he fell asleep during it. I don’t know if he was faking it or really asleep, but it was perfect! His day to day life was like a giant performance art piece.\u003c/p>\n\u003chr>\n\u003ch3>Ben Vida\u003c/h3>\n\u003cp>\u003cem>Tony Conrad and Vida’s old band Town and Country toured together in 2004. Conrad showed Vida that art transcended medium.\u003c/em>\u003c/p>\n\u003cp>My first memory has to do with going to see Tony present some of his films. This was perhaps 1997. It was at a venue in Chicago called the Lunar Cabaret. In the audience, if memory serves, was Jim O’Rourke, David Grubbs, John Corbett and only a few others. Tony presented the films almost as a performance. His presence and storytelling was as illuminating as the work itself. So much humor, intelligence and generous energy — and always mischievous. For me it was a formative moment where I started to understand the porousness between artistic processes. That, in the right hands, mediums were mutable and that performance could be a more more expansive practice.\u003c/p>\n\u003cp>When I was back in school getting my MFA, Tony came in as a guest instructor. He stirred s*** up so effortlessly and with such intelligence. He brought a point of view that was, at once, in touch with the old avant-garde but also completely present and contemporary. I remember him saying to a group of students something like, “It’s okay if I don’t like your work. I shouldn’t like it. We are from different generations.” I took this to mean that the work of a young artist today shouldn’t sit easily with an older artist — you’re supposed to be pushing beyond what has come before, and in that, there should be distortions and disconnects. It shouldn’t be easy.\u003c/p>\n\u003cp>As my own practice has continued to evolve, and I find myself oscillating between the music and art worlds, Tony’s writing and lectures and music and art continue to inform how I see and listen and think about things. I don’t think he ever stopped experimenting. And I don’t think he ever stopped pushing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "goodbye-lake-wobegon-prairie-home-is-getting-a-new-host",
"title": "Goodbye, Lake Wobegon: 'Prairie Home' is Getting a New Host",
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"content": "\u003cp>No more Guy Noir, Private Eye. No more tales of Dusty and Lefty, the luckless cowboys. And no more weekly “News From Lake Wobegon,” the imaginary Minnesota town famous for strong women, good-looking men and above-average children.\u003c/p>\n\u003cp>Those signature comedy sketches will vanish from the airwaves when humorist and best-selling author Garrison Keillor retires as host of his popular public radio show, \u003cem>A Prairie Home Companion\u003c/em>, this summer. After Keillor, whose sonorous voice and witty writing entertained millions of listeners for four decades, steps down, mandolin ace Chris Thile of the bands Punch Brothers and Nickel Creek will step in as the first full-time replacement host in October.\u003c/p>\n\u003cp>“I thought that the show should press the restart and not try to replicate what it has evolved into,” Keillor explained, “but go back to the beginning and revive itself as a music show with comedy add-ons.”\u003c/p>\n\u003cp>Some things won’t change, Keillor and Thile say. The show’s name will remain \u003cem>A Prairie Home Companion\u003c/em> (for now), its home base will stay at the 1,000-seat, elegantly restored Fitzgerald Theater in downtown St. Paul, and the live show will keep its two-hour Saturday evening time slot. Keillor says he will remain as executive producer and “a remote, benevolent gray eminence who phones in his thoughts every so often.”\u003c/p>\n\u003cp>“Garrison created a template that I think is immortal,” an effervescent Thile said during a recent interview on the Fitzgerald stage. “It doesn’t feel like any kind of constraint. It’s like a license. I feel like I have my license to go and make some good radio.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if the shows Thile guest-hosted in January and February are any indication, listeners can expect a hipper batch of musical performers. Singer-songwriter Ben Folds, alt-country singer Brandi Carlile, multi-instrumentalist and whistler Andrew Bird and Paul Simon — perhaps the biggest musical name to ever perform on “Prairie Home” — were among the guests. Thile just had to pick up the phone and see if Simon was available.\u003c/p>\n\u003cp>Keillor praises Thile’s musical connections as well as his respect for old-time bluegrass music.\u003c/p>\n\u003cp>“It seems to me if anybody was meant to host and produce a musical variety show that has real intensity and integrity, it’s him,” Keillor said in a telephone interview.\u003c/p>\n\u003cp>At 35, Thile is three years older than when Keillor, now 73, started the show in 1974. The sandy-haired singer gushes when talking about succeeding Keillor.\u003c/p>\n\u003cp>“The prospect of getting to make things for people on a weekly basis … is beyond compare. It’s what I love to do,” said Thile, who began listening to “Prairie Home” as a boy. Thile was 15 when he made his first appearance on the show in 1996 and has made a dozen or more visits since then.\u003c/p>\n\u003cp>Instead of Keillor’s weekly monologue about Norwegian bachelor farmers and other residents of his fictional hometown of Lake Wobegon, Thile plans to write a new song every week that may take into account who is on the show. “Prairie Home” pianist and composer Richard Dworsky will remain, and Thile plans to bring back regular performers Tim Russell, Sue Scott and sound-effects guy Fred Newman but perhaps pair them with guest actors or comedians.\u003c/p>\n\u003cp>“Prairie Home” undoubtedly will lose its Minnesota worldview with Anoka native Keillor gone. Thile was born in San Diego, grew up in Idyllwild in the San Jacinto mountains of Southern California and has lived in Kentucky; Nashville, Tennessee; San Francisco and New York. He now lives in Portland, Oregon, with his wife, actress Claire Coffee of the TV show \u003cem>Grimm\u003c/em>, and their young son. Thile plans to stay in Portland, where \u003cem>Grimm\u003c/em> is filmed, and commute for “Prairie Home.”\u003c/p>\n\u003cp>Thile said the new “Prairie Home” will reflect “the increasingly diffuse experience that most people have.”\u003c/p>\n\u003cp>Keillor will tape his final “Prairie Home” on July 1 at the Hollywood Bowl for broadcast the following day in its regular time slot. Thile makes his debut as replacement host Oct. 15 at the Fitzgerald. A 13-show season is planned at first, about half a normal 26-show run.\u003c/p>\n\u003cp>A big part of the show’s revenue comes from stations that pay to carry it. Bill Thomas, director of radio for Prairie Public Broadcasting in North Dakota, said he plans to sign up for the new season to give Thile a chance.\u003c/p>\n\u003cp>“I suspect a lot of people will say they don’t like it, it’s not Garrison Keillor,” Thomas said. “Of course it won’t be. We’ll just have to see.”\u003c/p>\n\u003cp>Both Thile and Keillor say public radio stations need to rally around the new show. “Prairie Home” has a weekly audience of more than 3.5 million listeners on 700 public radio stations in the U.S. When Keillor originally tried to retire in 1987, a substitute show, \u003cem>Good Evening\u003c/em>, hosted by Noah Adams of public radio’s \u003cem>All Things Considered\u003c/em>, lasted just a year.\u003c/p>\n\u003cp>“I think (“Prairie Home”) needs to be handed off to somebody and not just go into rerun purgatory,” Keillor said. “I really think this guy (Thile) brings something to public radio that public radio needs.”\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>No more Guy Noir, Private Eye. No more tales of Dusty and Lefty, the luckless cowboys. And no more weekly “News From Lake Wobegon,” the imaginary Minnesota town famous for strong women, good-looking men and above-average children.\u003c/p>\n\u003cp>Those signature comedy sketches will vanish from the airwaves when humorist and best-selling author Garrison Keillor retires as host of his popular public radio show, \u003cem>A Prairie Home Companion\u003c/em>, this summer. After Keillor, whose sonorous voice and witty writing entertained millions of listeners for four decades, steps down, mandolin ace Chris Thile of the bands Punch Brothers and Nickel Creek will step in as the first full-time replacement host in October.\u003c/p>\n\u003cp>“I thought that the show should press the restart and not try to replicate what it has evolved into,” Keillor explained, “but go back to the beginning and revive itself as a music show with comedy add-ons.”\u003c/p>\n\u003cp>Some things won’t change, Keillor and Thile say. The show’s name will remain \u003cem>A Prairie Home Companion\u003c/em> (for now), its home base will stay at the 1,000-seat, elegantly restored Fitzgerald Theater in downtown St. Paul, and the live show will keep its two-hour Saturday evening time slot. Keillor says he will remain as executive producer and “a remote, benevolent gray eminence who phones in his thoughts every so often.”\u003c/p>\n\u003cp>“Garrison created a template that I think is immortal,” an effervescent Thile said during a recent interview on the Fitzgerald stage. “It doesn’t feel like any kind of constraint. It’s like a license. I feel like I have my license to go and make some good radio.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if the shows Thile guest-hosted in January and February are any indication, listeners can expect a hipper batch of musical performers. Singer-songwriter Ben Folds, alt-country singer Brandi Carlile, multi-instrumentalist and whistler Andrew Bird and Paul Simon — perhaps the biggest musical name to ever perform on “Prairie Home” — were among the guests. Thile just had to pick up the phone and see if Simon was available.\u003c/p>\n\u003cp>Keillor praises Thile’s musical connections as well as his respect for old-time bluegrass music.\u003c/p>\n\u003cp>“It seems to me if anybody was meant to host and produce a musical variety show that has real intensity and integrity, it’s him,” Keillor said in a telephone interview.\u003c/p>\n\u003cp>At 35, Thile is three years older than when Keillor, now 73, started the show in 1974. The sandy-haired singer gushes when talking about succeeding Keillor.\u003c/p>\n\u003cp>“The prospect of getting to make things for people on a weekly basis … is beyond compare. It’s what I love to do,” said Thile, who began listening to “Prairie Home” as a boy. Thile was 15 when he made his first appearance on the show in 1996 and has made a dozen or more visits since then.\u003c/p>\n\u003cp>Instead of Keillor’s weekly monologue about Norwegian bachelor farmers and other residents of his fictional hometown of Lake Wobegon, Thile plans to write a new song every week that may take into account who is on the show. “Prairie Home” pianist and composer Richard Dworsky will remain, and Thile plans to bring back regular performers Tim Russell, Sue Scott and sound-effects guy Fred Newman but perhaps pair them with guest actors or comedians.\u003c/p>\n\u003cp>“Prairie Home” undoubtedly will lose its Minnesota worldview with Anoka native Keillor gone. Thile was born in San Diego, grew up in Idyllwild in the San Jacinto mountains of Southern California and has lived in Kentucky; Nashville, Tennessee; San Francisco and New York. He now lives in Portland, Oregon, with his wife, actress Claire Coffee of the TV show \u003cem>Grimm\u003c/em>, and their young son. Thile plans to stay in Portland, where \u003cem>Grimm\u003c/em> is filmed, and commute for “Prairie Home.”\u003c/p>\n\u003cp>Thile said the new “Prairie Home” will reflect “the increasingly diffuse experience that most people have.”\u003c/p>\n\u003cp>Keillor will tape his final “Prairie Home” on July 1 at the Hollywood Bowl for broadcast the following day in its regular time slot. Thile makes his debut as replacement host Oct. 15 at the Fitzgerald. A 13-show season is planned at first, about half a normal 26-show run.\u003c/p>\n\u003cp>A big part of the show’s revenue comes from stations that pay to carry it. Bill Thomas, director of radio for Prairie Public Broadcasting in North Dakota, said he plans to sign up for the new season to give Thile a chance.\u003c/p>\n\u003cp>“I suspect a lot of people will say they don’t like it, it’s not Garrison Keillor,” Thomas said. “Of course it won’t be. We’ll just have to see.”\u003c/p>\n\u003cp>Both Thile and Keillor say public radio stations need to rally around the new show. “Prairie Home” has a weekly audience of more than 3.5 million listeners on 700 public radio stations in the U.S. When Keillor originally tried to retire in 1987, a substitute show, \u003cem>Good Evening\u003c/em>, hosted by Noah Adams of public radio’s \u003cem>All Things Considered\u003c/em>, lasted just a year.\u003c/p>\n\u003cp>“I think (“Prairie Home”) needs to be handed off to somebody and not just go into rerun purgatory,” Keillor said. “I really think this guy (Thile) brings something to public radio that public radio needs.”\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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"slug": "photo-gallery-voguing-workshop-participants-strike-a-pose",
"title": "Photo Gallery: Voguing Workshop Participants Strike A Pose",
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"headTitle": "Photo Gallery: Voguing Workshop Participants Strike A Pose | KQED",
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"content": "\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>\u003cspan style=\"font-weight: 400\">Voguing is a type of dance inspired by the poses found on the pages of Vogue Magazine. It was popularized by queer people of color in the 1960s and 70s. “It was an outlet for people in the community to come together, to have a safe sanctuary, to have a safe place” says Joquese Whitfield, a dancer and instructor who teaches voguing at \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a> in San Francisco .\u003c/span>\u003c/p>\n\u003cp>Whitfield says there are five elements of voguing: cat walk, duck walk, spins, dips and hands. The cat walk is a stylized sashay, in which you step on the balls of your feet and swing the hips deeply. The duck walk is squatted foot kicking movements, very similar to the Russian kick. Dips involve dropping to the floor, often with one leg back and one pointing outstretched. The hands constantly in motion with big sweeping motions or quick lyrical movements.\u003c/p>\n\u003cp>\u003cstrong>Watch a video featuring the core five voguing moves:\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How to Vogue with Jocquese Whitfield\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/6lyUvaaxWRY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Taking moves from the studio to the street\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a recent voguing workshop, heavy beats streamed out of the speakers as the students whipped their hands about at sharp angles, dropping to the floor and then strutting across the studio. Michaela Taylor was one of the students at Dance Mission Theater that day. “I’m very small, maybe five feet tall, but voguing makes me feel big!” Taylor says. “I love it. Joquese tells us that voguing is about self love, and self love is the best love. That really stuck with me.”\u003c/p>\n\u003cp>Taylor says voguing helps her overcome challenges. “I have my moments when I’m shy,” Taylor says. “When I get uncomfortable in situations I’ll just start dancing, so I can be less uncomfortable.” Although she practices at the studio, she has integrated voguing into her everyday life. “When I’m waiting on a bus or something, I’ll put in my headphones and start dancing. People will start staring at me, and I look at them like, yeah, I’m dancing.”\u003c/p>\n\u003cp>\u003cstrong>Into the mainstream\u003c/strong>\u003c/p>\n\u003cp>Voguing has gone from the underground to the mainstream. “Now you can see voguing in today’s music videos from Beyonce to Britney Spears,” Whitfield says. “People from different areas of the world vogue differently from each other but everyone has the same elements.” says Whitfield.\u003c/p>\n\u003cp>“Vogue is a dance form,” Whitfield says. “But not only is it a dance form, it’s a way of life. It’s a culture.”\u003c/p>\n\u003cfigure id=\"attachment_11470441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470441 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0396-800x533.jpg\" alt=\"IMG_0396\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Voguing at Dance Mission Theater in San Francisco. From Left to right: Rashad Pridgen, Jessica Recinos, Michaela Taylor and Johnny Nguyen. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470436\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470436 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0516-800x533.jpg\" alt=\"IMG_0516\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Michaela Taylor, Jessica Recinos, Johnny Nguyen and Rashad Pridgen freestyle (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470438\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470438 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0455-800x533.jpg\" alt=\"IMG_0455\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Jessica Recinos practicing her floor work (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470432\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470432 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0585-800x533.jpg\" alt=\"IMG_0585\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Posing at the Dance Mission Theater (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470427\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470427 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0597-800x533.jpg\" alt=\"IMG_0597\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">“I’m not afraid to get in front of the camera anymore” says Michaela Taylor (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470426\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470426 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0655-800x533.jpg\" alt=\"IMG_0655\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">The class took it outside the studio to Mission and 16th (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470425\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470425 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-800x490.jpg\" alt=\"IMG_0771\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-400x245.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-1180x723.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-960x588.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947.jpg 1574w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Michaela Taylor, Rashad Pridgen, Johnny Nguyen and Jessica Recinos. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Want to learn? Here are some Bay Area studios that’ll help you get started in the art of voguing:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.odcdance.org/press_genview.php?param=12¶m1=62\">ODC\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nTechnique classes at 7:30pm and a choreography class at 8:30pm every Thursday.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://clients.mindbodyonline.com/classic/home?studioid=15734\">Dance Mission Theater\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nClasses every Monday at 8pm, followed by “Slay Sessions”.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.newstylemotherlode.com/#!about1/c1wph\">New Style Motherload\u003c/a>, Oakland \u003c/strong>\u003cbr>\nHas occasional vogue classes; check schedule for update\u003c/p>\n\n",
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"excerpt": "Find out what it's like to take a voguing class and watch a video about the five essential moves of the dance form",
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"title": "Photo Gallery: Voguing Workshop Participants Strike A Pose | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003cspan style=\"font-weight: 400\">Voguing is a type of dance inspired by the poses found on the pages of Vogue Magazine. It was popularized by queer people of color in the 1960s and 70s. “It was an outlet for people in the community to come together, to have a safe sanctuary, to have a safe place” says Joquese Whitfield, a dancer and instructor who teaches voguing at \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a> in San Francisco .\u003c/span>\u003c/p>\n\u003cp>Whitfield says there are five elements of voguing: cat walk, duck walk, spins, dips and hands. The cat walk is a stylized sashay, in which you step on the balls of your feet and swing the hips deeply. The duck walk is squatted foot kicking movements, very similar to the Russian kick. Dips involve dropping to the floor, often with one leg back and one pointing outstretched. The hands constantly in motion with big sweeping motions or quick lyrical movements.\u003c/p>\n\u003cp>\u003cstrong>Watch a video featuring the core five voguing moves:\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How to Vogue with Jocquese Whitfield\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/6lyUvaaxWRY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Taking moves from the studio to the street\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a recent voguing workshop, heavy beats streamed out of the speakers as the students whipped their hands about at sharp angles, dropping to the floor and then strutting across the studio. Michaela Taylor was one of the students at Dance Mission Theater that day. “I’m very small, maybe five feet tall, but voguing makes me feel big!” Taylor says. “I love it. Joquese tells us that voguing is about self love, and self love is the best love. That really stuck with me.”\u003c/p>\n\u003cp>Taylor says voguing helps her overcome challenges. “I have my moments when I’m shy,” Taylor says. “When I get uncomfortable in situations I’ll just start dancing, so I can be less uncomfortable.” Although she practices at the studio, she has integrated voguing into her everyday life. “When I’m waiting on a bus or something, I’ll put in my headphones and start dancing. People will start staring at me, and I look at them like, yeah, I’m dancing.”\u003c/p>\n\u003cp>\u003cstrong>Into the mainstream\u003c/strong>\u003c/p>\n\u003cp>Voguing has gone from the underground to the mainstream. “Now you can see voguing in today’s music videos from Beyonce to Britney Spears,” Whitfield says. “People from different areas of the world vogue differently from each other but everyone has the same elements.” says Whitfield.\u003c/p>\n\u003cp>“Vogue is a dance form,” Whitfield says. “But not only is it a dance form, it’s a way of life. It’s a culture.”\u003c/p>\n\u003cfigure id=\"attachment_11470441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470441 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0396-800x533.jpg\" alt=\"IMG_0396\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Voguing at Dance Mission Theater in San Francisco. From Left to right: Rashad Pridgen, Jessica Recinos, Michaela Taylor and Johnny Nguyen. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470436\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470436 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0516-800x533.jpg\" alt=\"IMG_0516\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Michaela Taylor, Jessica Recinos, Johnny Nguyen and Rashad Pridgen freestyle (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470438\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470438 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0455-800x533.jpg\" alt=\"IMG_0455\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Jessica Recinos practicing her floor work (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470432\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470432 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0585-800x533.jpg\" alt=\"IMG_0585\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Posing at the Dance Mission Theater (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470427\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470427 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0597-800x533.jpg\" alt=\"IMG_0597\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">“I’m not afraid to get in front of the camera anymore” says Michaela Taylor (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470426\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470426 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0655-800x533.jpg\" alt=\"IMG_0655\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">The class took it outside the studio to Mission and 16th (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470425\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470425 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-800x490.jpg\" alt=\"IMG_0771\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-400x245.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-1180x723.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-960x588.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947.jpg 1574w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Michaela Taylor, Rashad Pridgen, Johnny Nguyen and Jessica Recinos. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Want to learn? Here are some Bay Area studios that’ll help you get started in the art of voguing:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.odcdance.org/press_genview.php?param=12¶m1=62\">ODC\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nTechnique classes at 7:30pm and a choreography class at 8:30pm every Thursday.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://clients.mindbodyonline.com/classic/home?studioid=15734\">Dance Mission Theater\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nClasses every Monday at 8pm, followed by “Slay Sessions”.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.newstylemotherlode.com/#!about1/c1wph\">New Style Motherload\u003c/a>, Oakland \u003c/strong>\u003cbr>\nHas occasional vogue classes; check schedule for update\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Illma Communication: Naked Trump Portrait on Display in London Gallery",
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"content": "\u003cp>The infamous “Donald Trump with a Micropenis” portrait, created by artist and Bay Area native Ashley “Illma” Gore, went on display at a gallery in London last week after she was unable to find a gallery in the U.S. to exhibit it.\u003c/p>\n\u003cp>Gore, who is based in Los Angeles but grew up in San Francisco and Australia, created the portrait titled “Make America Great Again” back in February of this year. She posted a picture of it on Facebook and it ended up being shared 50 million times in three days. It also led to her being \u003ca href=\"http://ww2.kqed.org/arts/2016/03/29/license-to-illma-naked-trump-portrait-gets-artist-banned-from-facebook-ebay/\" target=\"_blank\" rel=\"noopener\">banned from Facebook and eBay,\u003c/a> as well as being harassed and threatened online. \u003c/p>\n\u003cp>Apparently she’s been \u003ca href=\"https://www.facebook.com/tomfoolery.art/\" target=\"_blank\" rel=\"noopener\">allowed back on Facebook\u003c/a> because on April 9 she posted \u003ca href=\"https://www.facebook.com/ITVLondon/videos/10153511644687944/\" target=\"_blank\" rel=\"noopener\">a news report from ITV London\u003c/a> discussing how her piece is on display at the Maddox Gallery in London’s Mayfair area for the next two weeks. \u003c/p>\n\u003cp>“They reached out to me, despite all the controversy, and said, ‘We’d love to show it in London,’ which was a relief to me,” Gore told ITV London.\u003c/p>\n\u003cp>Questions about when Gore’s Facebook ban was lifted have not yet been returned. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The infamous “Donald Trump with a Micropenis” portrait, created by artist and Bay Area native Ashley “Illma” Gore, went on display at a gallery in London last week after she was unable to find a gallery in the U.S. to exhibit it.\u003c/p>\n\u003cp>Gore, who is based in Los Angeles but grew up in San Francisco and Australia, created the portrait titled “Make America Great Again” back in February of this year. She posted a picture of it on Facebook and it ended up being shared 50 million times in three days. It also led to her being \u003ca href=\"http://ww2.kqed.org/arts/2016/03/29/license-to-illma-naked-trump-portrait-gets-artist-banned-from-facebook-ebay/\" target=\"_blank\" rel=\"noopener\">banned from Facebook and eBay,\u003c/a> as well as being harassed and threatened online. \u003c/p>\n\u003cp>Apparently she’s been \u003ca href=\"https://www.facebook.com/tomfoolery.art/\" target=\"_blank\" rel=\"noopener\">allowed back on Facebook\u003c/a> because on April 9 she posted \u003ca href=\"https://www.facebook.com/ITVLondon/videos/10153511644687944/\" target=\"_blank\" rel=\"noopener\">a news report from ITV London\u003c/a> discussing how her piece is on display at the Maddox Gallery in London’s Mayfair area for the next two weeks. \u003c/p>\n\u003cp>“They reached out to me, despite all the controversy, and said, ‘We’d love to show it in London,’ which was a relief to me,” Gore told ITV London.\u003c/p>\n\u003cp>Questions about when Gore’s Facebook ban was lifted have not yet been returned. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "L.A. Stage Drama Journeys to the Heart of Child Immigrant Crisis",
"title": "L.A. Stage Drama Journeys to the Heart of Child Immigrant Crisis",
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"content": "\u003cp>Sunrise is just starting to peak through the palm trees at Lincoln Park in East L.A. as a flatbed truck hauling a sky-blue shipping container pulls up at the edge of a dirt volleyball court. At 20 feet across and 8 feet tall, it’s the main set piece and stage for a play produced by the California Institute of the Arts called \"\u003ca href=\"http://centerfornewperformance.org/project/shelter/\">Shelter\u003c/a>.\"\u003c/p>\n\u003cp>“In a lot of ways, that shipping container is kind of an abstraction of a railroad car. But it's also this metaphor of a box where people are trapped, a box where people are kept and corralled, so it functions on a variety of levels,” says producer Mark Valdez.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/258066894\" 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>The play, produced by the California Institute of the Arts, revolves around a band of teenage migrants as they make the journey north to the U.S. without parents or adult guardians.\u003c/p>\n\u003cp>“And it follows their journeys, from leaving their home countries, traveling through Mexico on ‘La Bestia’, the beast, which is what they call the train that crosses through the entirety of Mexico,” explains Valdez.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At an evening dress rehearsal earlier this week, young actors from CalArts run through the action under the watchful eye of veteran Mexico City-based stage director Martin Acosta.\u003c/p>\n\u003cfigure id=\"attachment_10924033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterDirector-800x520.jpg\" alt=\""Shelter" director Martin Acosta talks to actors before a recent rehearsal at L.A.'s Lincoln Park.\" width=\"800\" height=\"520\" class=\"size-medium wp-image-10924033\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-800x520.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-400x260.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-1180x768.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-960x625.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Shelter\" director Martin Acosta talks to actors before a recent rehearsal at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s actually my first experience outside, outdoors. I am learning,” laughs Acosta.\u003c/p>\n\u003cp>It’s a physical performance. Actors roll and tumble across the dust. They dance, sing, kick a soccer ball around and perch themselves atop that makeshift 8-foot train car.\u003c/p>\n\u003cp>“Actually, there is a train,” says Acosta, as a freighter rumbles along the Union Pacific rail line that runs by Lincoln Park’s southern tip. “It probably (will) come during the performance. I think it’s great.”\u003c/p>\n\u003cp>\"Shelter\" is being presented with no barriers between “the stage” and the day-day-day life of this largely Latino East L.A. neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_10924043\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10924043 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterSoccerBall-800x510.jpg\" alt=\"Actors rehearse for the play "Shelter" at L.A.'s Lincoln Park. \" width=\"800\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-800x510.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-400x255.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-1180x752.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-960x612.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors rehearse for the play 'Shelter' at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No tickets are required for the free performances. People can stay and watch the whole thing. Or just watch a few scenes as they pass through the park. During rehearsal, children on bicycles, joggers and dog walkers watch the drama unfold.\u003c/p>\n\u003cp>\"Shelter’s\" story is rooted in the mass migration of tens of thousands of young people who have crossed or tried crossing into the U.S. illegally over the last few years. The number of unaccompanied minors apprehended by U.S. authorities spiked in 2014, though thousands still risk the journey.\u003c/p>\n\u003cp>“In a way, they are looking for more than the American dream. They are looking for their families. And during the travel they are invisible because it's getting dangerous for them,” says Acosta\u003c/p>\n\u003cp>\"Shelter\" walks a fine line between drama and politics. In one scene three teenage girls confide their fears to one another while curled up on cots in a temporary federal holding facility.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"315\" src=\"http://www.hulu.com/embed.html?eid=g3jn8cyf0ynrvlt34nphka\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“Has anyone, you know, hurt you?” asks one girl.\u003c/p>\n\u003cp>“No, not here, we’re safe here,” says another.\u003c/p>\n\u003cp>“How do you know that?” wonders another.\u003c/p>\n\u003cp>In another scene the same actors adopt the voices and actual words of real-life pundits, politicians and activists.\u003c/p>\n\u003cp>“This crisis is Obama-made,” exclaims one.\u003c/p>\n\u003cp>“They have heard from all their friends and relatives that if they get to the U.S. all will be taken care of,” says another.\u003c/p>\n\u003cp>“We call that section, people circling the crisis from above,” says \"Shelter\" playwright \u003ca href=\"http://www.marissachibas.com/bio.html\">Marissa Chibas\u003c/a>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>“There's no question that we are wanting to let these kids' voices be heard and their personal stories to be revealed. And those are the stories that we’re not hearing enough of,” says Chibas. “About just how dangerous it is back home for some of these kids.”\u003c/p>\n\u003cfigure id=\"attachment_10924110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10924110 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterWhiteShirt-800x505.jpg\" alt=\"Actors rehearse for "Shelter" at L.A.'s Lincoln Park. \" width=\"800\" height=\"505\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-800x505.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-400x252.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-1180x744.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors rehearse for 'Shelter' at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chibas met and interviewed several young immigrants while writing the script. Many were fleeing poverty or murderous organized gangs. All are still living in the U.S., their immigration cases pending in federal court. Some of them also had a chance to meet and speak with the actors and check out a preview of \"Shelter.\"\u003c/p>\n\u003cp>“I don't think I've ever been more nervous for anything in my life than the night they were watching,” laughs Chibas. “But they recognized themselves and one of the young woman said: 'I feel represented.' And I felt like, OK, we’ve done our job.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After its run of performances at L.A.’s Lincoln Park wraps up next weekend, producers hope to take the play on the road to other cities across the U.S.\u003c/p>\n\n",
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"excerpt": "'We are wanting to let these kids' voices be heard and their personal stories to be revealed. And those are the stories that we’re not hearing enough of,' says the playwright.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunrise is just starting to peak through the palm trees at Lincoln Park in East L.A. as a flatbed truck hauling a sky-blue shipping container pulls up at the edge of a dirt volleyball court. At 20 feet across and 8 feet tall, it’s the main set piece and stage for a play produced by the California Institute of the Arts called \"\u003ca href=\"http://centerfornewperformance.org/project/shelter/\">Shelter\u003c/a>.\"\u003c/p>\n\u003cp>“In a lot of ways, that shipping container is kind of an abstraction of a railroad car. But it's also this metaphor of a box where people are trapped, a box where people are kept and corralled, so it functions on a variety of levels,” says producer Mark Valdez.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/258066894&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/258066894'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The play, produced by the California Institute of the Arts, revolves around a band of teenage migrants as they make the journey north to the U.S. without parents or adult guardians.\u003c/p>\n\u003cp>“And it follows their journeys, from leaving their home countries, traveling through Mexico on ‘La Bestia’, the beast, which is what they call the train that crosses through the entirety of Mexico,” explains Valdez.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At an evening dress rehearsal earlier this week, young actors from CalArts run through the action under the watchful eye of veteran Mexico City-based stage director Martin Acosta.\u003c/p>\n\u003cfigure id=\"attachment_10924033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterDirector-800x520.jpg\" alt=\""Shelter" director Martin Acosta talks to actors before a recent rehearsal at L.A.'s Lincoln Park.\" width=\"800\" height=\"520\" class=\"size-medium wp-image-10924033\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-800x520.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-400x260.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-1180x768.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-960x625.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Shelter\" director Martin Acosta talks to actors before a recent rehearsal at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s actually my first experience outside, outdoors. I am learning,” laughs Acosta.\u003c/p>\n\u003cp>It’s a physical performance. Actors roll and tumble across the dust. They dance, sing, kick a soccer ball around and perch themselves atop that makeshift 8-foot train car.\u003c/p>\n\u003cp>“Actually, there is a train,” says Acosta, as a freighter rumbles along the Union Pacific rail line that runs by Lincoln Park’s southern tip. “It probably (will) come during the performance. I think it’s great.”\u003c/p>\n\u003cp>\"Shelter\" is being presented with no barriers between “the stage” and the day-day-day life of this largely Latino East L.A. neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_10924043\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10924043 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterSoccerBall-800x510.jpg\" alt=\"Actors rehearse for the play "Shelter" at L.A.'s Lincoln Park. \" width=\"800\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-800x510.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-400x255.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-1180x752.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-960x612.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors rehearse for the play 'Shelter' at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No tickets are required for the free performances. People can stay and watch the whole thing. Or just watch a few scenes as they pass through the park. During rehearsal, children on bicycles, joggers and dog walkers watch the drama unfold.\u003c/p>\n\u003cp>\"Shelter’s\" story is rooted in the mass migration of tens of thousands of young people who have crossed or tried crossing into the U.S. illegally over the last few years. The number of unaccompanied minors apprehended by U.S. authorities spiked in 2014, though thousands still risk the journey.\u003c/p>\n\u003cp>“In a way, they are looking for more than the American dream. They are looking for their families. And during the travel they are invisible because it's getting dangerous for them,” says Acosta\u003c/p>\n\u003cp>\"Shelter\" walks a fine line between drama and politics. In one scene three teenage girls confide their fears to one another while curled up on cots in a temporary federal holding facility.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"315\" src=\"http://www.hulu.com/embed.html?eid=g3jn8cyf0ynrvlt34nphka\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“Has anyone, you know, hurt you?” asks one girl.\u003c/p>\n\u003cp>“No, not here, we’re safe here,” says another.\u003c/p>\n\u003cp>“How do you know that?” wonders another.\u003c/p>\n\u003cp>In another scene the same actors adopt the voices and actual words of real-life pundits, politicians and activists.\u003c/p>\n\u003cp>“This crisis is Obama-made,” exclaims one.\u003c/p>\n\u003cp>“They have heard from all their friends and relatives that if they get to the U.S. all will be taken care of,” says another.\u003c/p>\n\u003cp>“We call that section, people circling the crisis from above,” says \"Shelter\" playwright \u003ca href=\"http://www.marissachibas.com/bio.html\">Marissa Chibas\u003c/a>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>“There's no question that we are wanting to let these kids' voices be heard and their personal stories to be revealed. And those are the stories that we’re not hearing enough of,” says Chibas. “About just how dangerous it is back home for some of these kids.”\u003c/p>\n\u003cfigure id=\"attachment_10924110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10924110 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterWhiteShirt-800x505.jpg\" alt=\"Actors rehearse for "Shelter" at L.A.'s Lincoln Park. \" width=\"800\" height=\"505\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-800x505.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-400x252.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-1180x744.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors rehearse for 'Shelter' at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chibas met and interviewed several young immigrants while writing the script. Many were fleeing poverty or murderous organized gangs. All are still living in the U.S., their immigration cases pending in federal court. Some of them also had a chance to meet and speak with the actors and check out a preview of \"Shelter.\"\u003c/p>\n\u003cp>“I don't think I've ever been more nervous for anything in my life than the night they were watching,” laughs Chibas. “But they recognized themselves and one of the young woman said: 'I feel represented.' And I felt like, OK, we’ve done our job.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After its run of performances at L.A.’s Lincoln Park wraps up next weekend, producers hope to take the play on the road to other cities across the U.S.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kate Haug Unearths History of Poor People's Campaign in ‘News Today’",
"headTitle": "Kate Haug Unearths History of Poor People’s Campaign in ‘News Today’ | KQED",
"content": "\u003cp>Forty-eight years ago today, on April 9, 1968, Martin Luther King, Jr.’s casket made a three-mile journey from Ebenezer Baptist Church in Atlanta, Georgia to a public service at Morehouse College. The \u003ca href=\"https://en.wikipedia.org/wiki/Poor_People%27s_Campaign\" target=\"_blank\" rel=\"noopener\">Poor People’s Campaign\u003c/a>, his unfinished project to unite the nation’s poor across racial lines, was about to begin.\u003c/p>\n\u003cp>In King’s absence, planning and organizing for the PPC continued under the leadership of Rev. Ralph Abernathy, but this movement for economic justice — a little-known aspect of King’s legacy — now sits on a forgotten shelf of history, relegated to memento sales on eBay.\u003c/p>\n\u003cp>Artist and filmmaker Kate Haug wants to refresh our collective memory.\u003c/p>\n\u003cfigure id=\"attachment_11477478\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200.jpg\" alt=\"Kate Haug, Catalog produced for 'News Today.'\" width=\"1200\" height=\"1178\" class=\"size-full wp-image-11477478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-611x600.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-1180x1158.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-960x942.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-75x75.jpg 75w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Catalog produced for ‘News Today.’ \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From April 9 to June 24, Haug’s project \u003ci>News Today: A History of the Poor People’s Campaign in Real Time\u003c/i> occupies the Outer Sunset storefront space \u003ca href=\"http://www.irvingstreetprojects.org/\" target=\"_blank\" rel=\"noopener\">Irving Street Projects\u003c/a> in the form of a deeply researched exhibition of historical visual materials. The small room is filled with framed documents, AP photos, models and reproductions tied to Resurrection City, the massive culmination of the PPC, a 3000-person, six-week-long encampment on the Washington Mall.\u003c/p>\n\u003cp>“My whole goal for the show is to reintroduce this information and recirculate it,” Haug says. She wants the PPC’s tactics and demands — for fair wages, access to health care and education and for the government’s attention to its most vulnerable population instead of a costly overseas war (Vietnam) — to show us the issues our nation faces today are part of an ongoing struggle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I find the images super inspiring because it makes me feel connected,” Haug says. “It makes me feel like this has been a project that people have been trying to work on and address for decades.”\u003c/p>\n\u003cfigure id=\"attachment_11477479\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200.jpg\" alt=\"Kate Haug, Install view of 'News Today' with model of Resurrection City on the Washington Mall.\" width=\"1200\" height=\"953\" class=\"size-full wp-image-11477479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-756x600.jpg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-1180x937.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-960x762.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Install view of ‘News Today’ with model of Resurrection City on the Washington Mall. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>News Today\u003c/i> functions as a visual timeline of the PPC — beginning with a black and white photograph of \u003ca href=\"https://en.wikipedia.org/wiki/Marian_Wright_Edelman\" target=\"_blank\" rel=\"noopener\">Marion Wright\u003c/a> testifying in 1967 about anti-poverty programs and ending with images of Resurrection City being bulldozed in 1968. Beneath each image in the show, Haug’s precise captions clearly detail the significance of a given historical moment.\u003c/p>\n\u003cp>“I’ve taken a lot of different texts from different sources to underline King’s message,” Haug says. “A lot of his economic message hasn’t been absorbed by general culture and I think it’s a real disservice to his legacy.”\u003c/p>\n\u003cp>The “people” of the campaign, recruited and trained in nonviolent protest by the \u003ca href=\"https://en.wikipedia.org/wiki/Southern_Christian_Leadership_Conference\" target=\"_blank\" rel=\"noopener\">Southern Christian Leadership Conference\u003c/a> (SCLC), came from the poorest parts of the US, many journeying by symbolic mule-led wagons to Washington, D.C.\u003c/p>\n\u003cfigure id=\"attachment_11477481\" class=\"wp-caption alignright\" style=\"max-width: 470px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200.jpg\" alt=\"'News Today' exhibition postcard.\" width=\"470\" height=\"640\" class=\"size-full wp-image-11477481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200-400x545.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200-441x600.jpg 441w\" sizes=\"(max-width: 470px) 100vw, 470px\">\u003cfigcaption class=\"wp-caption-text\">‘News Today’ exhibition postcard. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There, the PPC established 15 acres of plywood and tent housing, a town hall, a food program and sanitation and health facilities beside the Lincoln Memorial Reflecting Pool. Plagued by days of nonstop rain and muddy, damp conditions, the adults journeyed each day without fail to Capitol Hill, the agriculture and welfare departments, to lobby for their economic rights.\u003c/p>\n\u003cp>“We’re all in Washington to make ourselves visible to an America which denies that we exist,” said one white organizer in a June 13, 1968 \u003ci>Jet\u003c/i> magazine article.\u003c/p>\n\u003cp>Haug pays particular attention to the ways in which popular media depicted Resurrection City. A 1968 \u003ci>LIFE\u003c/i> magazine article called the encampment a “scar on the picture-postcard beauty of downtown Washington, D.C.”\u003c/p>\n\u003cp>This and other opinions of the day are available to exhibition visitors in faithful reproductions of \u003ci>Jet\u003c/i>, \u003ci>LIFE\u003c/i> and \u003ci>Look\u003c/i> magazines, printed by artist Raphael Villet for distribution at Haug’s show.\u003c/p>\n\u003cfigure id=\"attachment_11477480\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200.jpg\" alt=\"Kate Haug, Install view of 'News Today' with model of Resurrection City on the Washington Mall.\" width=\"1200\" height=\"841\" class=\"size-full wp-image-11477480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-1180x827.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-960x673.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Install view of ‘News Today’ with model of Resurrection City on the Washington Mall. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Haug’s retelling of the PPC, the emotional high point (positioned opposite a panoramic retelling of the emotional and physical devastation following King’s assassination) was Solidarity Day, held on June 19, 1968. Between 50,000 and 100,000 people gathered on the Washington Mall for talks by SCLC leaders, Native American activist Martha Grass and politician Eugene McCarthy.\u003c/p>\n\u003cp>Like any images of a mass social justice gathering, the pictures of Solidarity Day are powerfully optimistic, even today. But five days later, the demonstration’s National Park Service permit expired and Resurrection City “got bulldozed and forgotten,” says Haug. Certain gains were made by the campaign, but nothing at the scale and impact King intended with his “economic bill of rights.”\u003c/p>\n\u003cp>The artist hopes \u003ci>News Today\u003c/i>, filled to the brim with hours of reading material and hundreds of carefully selected images, will inspire visitors to become as passionate about this moment in history as she is. “Because so many people don’t know anything about this, I just wanted to have a forum for people to come in and read these texts,” say Haug.\u003c/p>\n\u003cp>She has no sense of ownership over the material she spend the last year gathering. “Take this information,” she says. “Please.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>News Today: A History of the Poor People’s Campaign in Real Time\u003c/b> opens April 9, 2-4pm and is on view through June 25 on Saturdays 1-5pm, and by appointment. For more information about a series of talks during the exhibition visit \u003ca href=\"http://www.irvingstreetprojects.org/current/\" target=\"_blank\" rel=\"noopener\">irvingstreetprojects.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "An exhibition charts a little-known aspect of Martin Luther King's legacy, a campaign for economic justice that took over the Washington Mall exactly 48 years ago.",
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"description": "An exhibition charts a little-known aspect of Martin Luther King's legacy, a campaign for economic justice that took over the Washington Mall exactly 48 years ago.",
"title": "Kate Haug Unearths History of Poor People's Campaign in ‘News Today’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Forty-eight years ago today, on April 9, 1968, Martin Luther King, Jr.’s casket made a three-mile journey from Ebenezer Baptist Church in Atlanta, Georgia to a public service at Morehouse College. The \u003ca href=\"https://en.wikipedia.org/wiki/Poor_People%27s_Campaign\" target=\"_blank\" rel=\"noopener\">Poor People’s Campaign\u003c/a>, his unfinished project to unite the nation’s poor across racial lines, was about to begin.\u003c/p>\n\u003cp>In King’s absence, planning and organizing for the PPC continued under the leadership of Rev. Ralph Abernathy, but this movement for economic justice — a little-known aspect of King’s legacy — now sits on a forgotten shelf of history, relegated to memento sales on eBay.\u003c/p>\n\u003cp>Artist and filmmaker Kate Haug wants to refresh our collective memory.\u003c/p>\n\u003cfigure id=\"attachment_11477478\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200.jpg\" alt=\"Kate Haug, Catalog produced for 'News Today.'\" width=\"1200\" height=\"1178\" class=\"size-full wp-image-11477478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-611x600.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-1180x1158.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-960x942.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-75x75.jpg 75w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Catalog produced for ‘News Today.’ \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From April 9 to June 24, Haug’s project \u003ci>News Today: A History of the Poor People’s Campaign in Real Time\u003c/i> occupies the Outer Sunset storefront space \u003ca href=\"http://www.irvingstreetprojects.org/\" target=\"_blank\" rel=\"noopener\">Irving Street Projects\u003c/a> in the form of a deeply researched exhibition of historical visual materials. The small room is filled with framed documents, AP photos, models and reproductions tied to Resurrection City, the massive culmination of the PPC, a 3000-person, six-week-long encampment on the Washington Mall.\u003c/p>\n\u003cp>“My whole goal for the show is to reintroduce this information and recirculate it,” Haug says. She wants the PPC’s tactics and demands — for fair wages, access to health care and education and for the government’s attention to its most vulnerable population instead of a costly overseas war (Vietnam) — to show us the issues our nation faces today are part of an ongoing struggle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I find the images super inspiring because it makes me feel connected,” Haug says. “It makes me feel like this has been a project that people have been trying to work on and address for decades.”\u003c/p>\n\u003cfigure id=\"attachment_11477479\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200.jpg\" alt=\"Kate Haug, Install view of 'News Today' with model of Resurrection City on the Washington Mall.\" width=\"1200\" height=\"953\" class=\"size-full wp-image-11477479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-756x600.jpg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-1180x937.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-960x762.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Install view of ‘News Today’ with model of Resurrection City on the Washington Mall. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>News Today\u003c/i> functions as a visual timeline of the PPC — beginning with a black and white photograph of \u003ca href=\"https://en.wikipedia.org/wiki/Marian_Wright_Edelman\" target=\"_blank\" rel=\"noopener\">Marion Wright\u003c/a> testifying in 1967 about anti-poverty programs and ending with images of Resurrection City being bulldozed in 1968. Beneath each image in the show, Haug’s precise captions clearly detail the significance of a given historical moment.\u003c/p>\n\u003cp>“I’ve taken a lot of different texts from different sources to underline King’s message,” Haug says. “A lot of his economic message hasn’t been absorbed by general culture and I think it’s a real disservice to his legacy.”\u003c/p>\n\u003cp>The “people” of the campaign, recruited and trained in nonviolent protest by the \u003ca href=\"https://en.wikipedia.org/wiki/Southern_Christian_Leadership_Conference\" target=\"_blank\" rel=\"noopener\">Southern Christian Leadership Conference\u003c/a> (SCLC), came from the poorest parts of the US, many journeying by symbolic mule-led wagons to Washington, D.C.\u003c/p>\n\u003cfigure id=\"attachment_11477481\" class=\"wp-caption alignright\" style=\"max-width: 470px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200.jpg\" alt=\"'News Today' exhibition postcard.\" width=\"470\" height=\"640\" class=\"size-full wp-image-11477481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200-400x545.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200-441x600.jpg 441w\" sizes=\"(max-width: 470px) 100vw, 470px\">\u003cfigcaption class=\"wp-caption-text\">‘News Today’ exhibition postcard. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There, the PPC established 15 acres of plywood and tent housing, a town hall, a food program and sanitation and health facilities beside the Lincoln Memorial Reflecting Pool. Plagued by days of nonstop rain and muddy, damp conditions, the adults journeyed each day without fail to Capitol Hill, the agriculture and welfare departments, to lobby for their economic rights.\u003c/p>\n\u003cp>“We’re all in Washington to make ourselves visible to an America which denies that we exist,” said one white organizer in a June 13, 1968 \u003ci>Jet\u003c/i> magazine article.\u003c/p>\n\u003cp>Haug pays particular attention to the ways in which popular media depicted Resurrection City. A 1968 \u003ci>LIFE\u003c/i> magazine article called the encampment a “scar on the picture-postcard beauty of downtown Washington, D.C.”\u003c/p>\n\u003cp>This and other opinions of the day are available to exhibition visitors in faithful reproductions of \u003ci>Jet\u003c/i>, \u003ci>LIFE\u003c/i> and \u003ci>Look\u003c/i> magazines, printed by artist Raphael Villet for distribution at Haug’s show.\u003c/p>\n\u003cfigure id=\"attachment_11477480\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200.jpg\" alt=\"Kate Haug, Install view of 'News Today' with model of Resurrection City on the Washington Mall.\" width=\"1200\" height=\"841\" class=\"size-full wp-image-11477480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-1180x827.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-960x673.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Install view of ‘News Today’ with model of Resurrection City on the Washington Mall. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Haug’s retelling of the PPC, the emotional high point (positioned opposite a panoramic retelling of the emotional and physical devastation following King’s assassination) was Solidarity Day, held on June 19, 1968. Between 50,000 and 100,000 people gathered on the Washington Mall for talks by SCLC leaders, Native American activist Martha Grass and politician Eugene McCarthy.\u003c/p>\n\u003cp>Like any images of a mass social justice gathering, the pictures of Solidarity Day are powerfully optimistic, even today. But five days later, the demonstration’s National Park Service permit expired and Resurrection City “got bulldozed and forgotten,” says Haug. Certain gains were made by the campaign, but nothing at the scale and impact King intended with his “economic bill of rights.”\u003c/p>\n\u003cp>The artist hopes \u003ci>News Today\u003c/i>, filled to the brim with hours of reading material and hundreds of carefully selected images, will inspire visitors to become as passionate about this moment in history as she is. “Because so many people don’t know anything about this, I just wanted to have a forum for people to come in and read these texts,” say Haug.\u003c/p>\n\u003cp>She has no sense of ownership over the material she spend the last year gathering. “Take this information,” she says. “Please.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>News Today: A History of the Poor People’s Campaign in Real Time\u003c/b> opens April 9, 2-4pm and is on view through June 25 on Saturdays 1-5pm, and by appointment. For more information about a series of talks during the exhibition visit \u003ca href=\"http://www.irvingstreetprojects.org/current/\" target=\"_blank\" rel=\"noopener\">irvingstreetprojects.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bruce Springsteen Cancels Show in North Carolina to Protest 'Bathroom Bill'",
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"content": "\u003cp>Bruce Springsteen has canceled his show scheduled for Sunday in North Carolina as a show of “solidarity” with the people and businesses protesting the state’s recently passed HB2 law, which requires that transgender people only use bathrooms that correspond with their sex at birth.\u003c/p>\n\u003cp>“Right now, there are many groups, businesses, and individuals in North Carolina working to oppose and overcome these negative developments,” the musician said in a \u003ca href=\"http://brucespringsteen.net/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>. “Taking all of this into account, I feel that this is a time for me and the band to show solidarity for those freedom fighters.”\u003c/p>\n\u003cp>https://twitter.com/springsteen/status/718524059559010309\u003c/p>\n\u003cp>The law, passed in March in a special session by the state’s Legislature and signed by Gov. Pat McCrory, also blocks “local governments from passing anti-discrimination rules to grant protections to gay and transgender people,” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/03/24/471700323/north-carolina-passes-law-blocking-measures-to-protect-lgbt-people\" target=\"_blank\" rel=\"noopener\">as we reported\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/springsteen/status/718554551930982400\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Boss explained his reasoning in the statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“As you, my fans, know I’m scheduled to play in Greensboro, North Carolina this Sunday. As we also know, North Carolina has just passed HB2, which the media are referring to as the ‘bathroom’ law. HB2 — known officially as the Public Facilities Privacy and Security Act — dictates which bathrooms transgender people are permitted to use. Just as important, the law also attacks the rights of LGBT citizens to sue when their human rights are violated in the workplace.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Springsteen also said, “No other group of North Carolinians faces such a burden. To my mind, it’s an attempt by people who cannot stand the progress our country has made in recognizing the human rights of all of our citizens to overturn that progress.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He concluded by saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a result, and with deepest apologies to our dedicated fans in Greensboro, we have canceled our show scheduled for Sunday, April 10th. Some things are more important than a rock show and this fight against prejudice and bigotry — which is happening as I write — is one of them. It is the strongest means I have for raising my voice in opposition to those who continue to push us backwards instead of forwards.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bruce+Springsteen+Cancels+Show+in+North+Carolina+To+Protest+%27Bathroom+Bill%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Boss explained his reasoning in the statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“As you, my fans, know I’m scheduled to play in Greensboro, North Carolina this Sunday. As we also know, North Carolina has just passed HB2, which the media are referring to as the ‘bathroom’ law. HB2 — known officially as the Public Facilities Privacy and Security Act — dictates which bathrooms transgender people are permitted to use. Just as important, the law also attacks the rights of LGBT citizens to sue when their human rights are violated in the workplace.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Springsteen also said, “No other group of North Carolinians faces such a burden. To my mind, it’s an attempt by people who cannot stand the progress our country has made in recognizing the human rights of all of our citizens to overturn that progress.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He concluded by saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a result, and with deepest apologies to our dedicated fans in Greensboro, we have canceled our show scheduled for Sunday, April 10th. Some things are more important than a rock show and this fight against prejudice and bigotry — which is happening as I write — is one of them. It is the strongest means I have for raising my voice in opposition to those who continue to push us backwards instead of forwards.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bruce+Springsteen+Cancels+Show+in+North+Carolina+To+Protest+%27Bathroom+Bill%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/258067543″ 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>Rachel Caplan, founder and director of the \u003ca href=\"http://www.greenfilmfest.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Green Film Festival\u003c/a>, remembers clearly when she got the idea for a movie series devoted to exploring environmental issues.\u003c/p>\n\u003cp>Caplan was at a screening of Al Gore’s \u003cem>\u003ca href=\"https://www.algore.com/library/an-inconvenient-truth-dvd\" target=\"_blank\" rel=\"noopener\">An Inconvenient Truth\u003c/a>,\u003c/em> a film that helped make the risks of global warming an international priority in 2006. “I could see that film could really have the power to move people to action,” Caplan says.\u003c/p>\n\u003cfigure id=\"attachment_11476091\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11476091\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Rachel-Caplan.jpg\" alt=\"San Francisco Green Film Festival Executive Director Rachel Caplan\" width=\"320\" height=\"232\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Green Film Festival Executive Director Rachel Caplan \u003ccite>(Photo: Courtesy of Green Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Caplan and I were talking in her tiny San Francisco office. She seemed a bit frazzled that day, with the festival fast approaching, and 70 films and filmmakers to shepherd into eight venues in San Francisco and Berkeley for the seven-day festival, which opens Thursday, Apr. 14.\u003c/p>\n\u003cp>Complicating things is that Caplan books environmental groups to appear along with the filmmakers at every screening. It’s not enough, she says, to just show a film; she wants to connect audiences with a way to take action when they’re most open to the idea.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>The “aha moment”\u003c/strong>\u003c/p>\n\u003cp>“There’s this moment when the lights come up and the credits roll.” Caplan says. “There’s this great ‘aha’ in the theater. People are feeling something very strong and emotional at that point, and it’s a powerful moment to then connect them to the next steps for action.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e1wpbCbPP7U\u003c/p>\n\u003cp>With the illegal poaching of Cecil the lion, and the US adding the African lion to the endangered species list, the festival will show \u003cem>Born Free\u003c/em>, a landmark film telling the story of a couple returning a lion cub to the wilds of Kenya. The movie is celebrating its 50th anniversary this year. “\u003cem>Born Free\u003c/em> was the first mainstream Hollywood film to have a conservation message,” Caplan says. “And what an impact it had.”\u003c/p>\n\u003cp>The film inspired a wave of environmental action. Its star, Virginia McKenna, created the\u003ca href=\"http://www.bornfree.org.uk/\" target=\"_blank\" rel=\"noopener\"> Born Free Foundation\u003c/a>, an international wildlife protection non-profit. The film also inspired the creation of other groups working to preserve African wildlife and their habitat.\u003c/p>\n\u003cp>McKenna, now 84, will\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=202523~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\"> be at the Festival screening on Wednesday, Apr. 20 t\u003c/a>o talk about the film and her foundation. Other organizations present will include \u003ca href=\"http://amazonwatch.org/\" target=\"_blank\" rel=\"noopener\">Amazon Watch\u003c/a> and the F\u003ca href=\"http://felidaefund.org\" target=\"_blank\" rel=\"noopener\">elidae Conservation Fund\u003c/a>, both Bay Area based groups devoted to preserving wildlife habitats.\u003c/p>\n\u003cp>The Festival will also feature the premiere of \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=202524~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Not Without Us\u003c/a>\u003c/em>, a documentary by San Francisco filmmaker Mark Decena tracing the personal and political journey of seven climate change activists attending the U.N. climate talks in Paris in December.\u003c/p>\n\u003cp>\u003cstrong>Inspiring people to change their behavior\u003c/strong>\u003c/p>\n\u003caside class=\"aligncenter\">\n[vimeo 161547474 w=640h=360]\u003cbr>\n\u003c/aside>\n\u003cp>Decena, looking tired as he raced to get his film ready in time for the \u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=202524~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">world premiere at San Francisco’s Castro Theater\u003c/a> April 20, says \u003cem>Not Without Us\u003c/em> asks audience members to mobilize — as he himself has. “There is the dramatic arc of the characters, becoming activated, but also the realization that global governments can only take it so far, so now it’s up to us,” Decena says. “I didn’t consider myself an activist. But I am definitely changing. I shower less.”\u003c/p>\n\u003cp>Other highlights at the Green Film Festival include \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=204720~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">An American Ascent\u003c/a>\u003c/em>, about nine African Americans climbing Mt. Denali in Alaska, and \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=204725~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Catching the Sun\u003c/a>, \u003c/em>a film about a solar jobs program in the East Bay city of Richmond.\u003c/p>\n\u003cp>The San Francisco Green Film Festival is one of the largest movie series devoted to environmental issues in the world. There are several other smaller environmental-themed film festivals in California. Nevada City hosts\u003ca href=\"https://www.wildandscenicf\" target=\"_blank\" rel=\"noopener\"> The Wild and Scenic Film Fest \u003c/a>each January, the city of Venice near Los Angeles has the \u003ca href=\"http://www.theg2gallery.com/g2_green_earth_film_festival.html\" target=\"_blank\" rel=\"noopener\">Green Earth Film Fest\u003c/a> in August. Closer to the Bay Area, there’s T\u003ca href=\"http://oceanfilmfest.org/\" target=\"_blank\" rel=\"noopener\">he San Francisco International Ocean Film Festival\u003c/a>, which wrapped up its screenings in March.\u003c/p>\n\u003cfigure id=\"attachment_11476094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11476094\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/018-e1460141576814-800x488.jpg\" alt=\"San Francisco International Ocean Film Fetival Executive Director Ana Blanco\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-1920x1171.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-960x586.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco International Ocean Film Fetival Executive Director Ana Blanco \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the Green Film Festival, the Ocean Film Festival aims to galvanize action through showing potent content. “It’s not just about getting the facts out there,” says Ocean Film Festival executive director Ana Blanco. “Someone will walk away and say ‘maybe I should change my behavior, maybe I should change my habits, maybe I should encourage my friends to do the same thing.’”\u003c/p>\n\u003cp>\u003cstrong>Appealing to the emotions\u003c/strong>\u003c/p>\n\u003cp>Among the films Blanco showed this year, and which is getting a screening this weekend in \u003ca href=\"http://oceanfilmfest.org/events/arena-ocean-film-festival-april-9-2016\" target=\"_blank\" rel=\"noopener\">Mendocino’s Pt. Arena, \u003c/a>is \u003cem>\u003ca href=\"http://oftheseamovie.com/\" target=\"_blank\" rel=\"noopener\">Of The Sea\u003c/a>. \u003c/em>The film tackles the decline in California fisheries and the toll it’s taken on fishermen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EWFgd7mPUGU\u003c/p>\n\u003cp>One of the Ocean Film Festival sponsors is the \u003ca href=\"http://farallones.noaa.gov/\" target=\"_blank\" rel=\"noopener\">Greater Farallones National Marine Sanctuary\u003c/a>, an area of almost 1300 square miles of ocean off the Golden Gate. Superintendent Maria Brown says there’s nothing odd about a federal agency providing resources to a film festival. “By showing the films we’re not advocating one view or another,” Brown says. “What we want to do is stimulate that conversation.”\u003c/p>\n\u003cfigure id=\"attachment_11476097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11476097\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/019-800x600.jpg\" alt=\"Farallones Marine Sanctuary Association Execuitve Director Chris Kelley and Greater Farallones National Marine Sanctuary Superintendent Maria Brown\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farallones Marine Sanctuary Association Execuitve Director Chris Kelley and Greater Farallones National Marine Sanctuary Superintendent Maria Brown \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown sees the festival as a great way to connect audiences to the mission of the sanctuary because of the empathy the films generate for wildlife preservation. “Art has a way of evoking emotion,” Brown says. “And in order for us to protect something, we have to feel some emotion towards it.”\u003c/p>\n\u003cp>\u003cstrong>All doom and gloom\u003c/strong>\u003c/p>\n\u003cp>In an age of global warming and species extinction, Green Film Festival director Rachel Caplan admits the films she shows can sometimes be a bit of a downer. “It can be a lot doom and gloom, and we’re all going to hell in a handbasket,” Caplan says. “It’s hard to pick yourself up and keep going.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But Caplan believes that’s all the more reason for the festival to offer people ways to change that narrative, and fix what the filmmakers have shown us needs work.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/258067543″&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/258067543″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Rachel Caplan, founder and director of the \u003ca href=\"http://www.greenfilmfest.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Green Film Festival\u003c/a>, remembers clearly when she got the idea for a movie series devoted to exploring environmental issues.\u003c/p>\n\u003cp>Caplan was at a screening of Al Gore’s \u003cem>\u003ca href=\"https://www.algore.com/library/an-inconvenient-truth-dvd\" target=\"_blank\" rel=\"noopener\">An Inconvenient Truth\u003c/a>,\u003c/em> a film that helped make the risks of global warming an international priority in 2006. “I could see that film could really have the power to move people to action,” Caplan says.\u003c/p>\n\u003cfigure id=\"attachment_11476091\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11476091\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Rachel-Caplan.jpg\" alt=\"San Francisco Green Film Festival Executive Director Rachel Caplan\" width=\"320\" height=\"232\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Green Film Festival Executive Director Rachel Caplan \u003ccite>(Photo: Courtesy of Green Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Caplan and I were talking in her tiny San Francisco office. She seemed a bit frazzled that day, with the festival fast approaching, and 70 films and filmmakers to shepherd into eight venues in San Francisco and Berkeley for the seven-day festival, which opens Thursday, Apr. 14.\u003c/p>\n\u003cp>Complicating things is that Caplan books environmental groups to appear along with the filmmakers at every screening. It’s not enough, she says, to just show a film; she wants to connect audiences with a way to take action when they’re most open to the idea.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The “aha moment”\u003c/strong>\u003c/p>\n\u003cp>“There’s this moment when the lights come up and the credits roll.” Caplan says. “There’s this great ‘aha’ in the theater. People are feeling something very strong and emotional at that point, and it’s a powerful moment to then connect them to the next steps for action.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/e1wpbCbPP7U'\n title='//www.youtube.com/embed/e1wpbCbPP7U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With the illegal poaching of Cecil the lion, and the US adding the African lion to the endangered species list, the festival will show \u003cem>Born Free\u003c/em>, a landmark film telling the story of a couple returning a lion cub to the wilds of Kenya. The movie is celebrating its 50th anniversary this year. “\u003cem>Born Free\u003c/em> was the first mainstream Hollywood film to have a conservation message,” Caplan says. “And what an impact it had.”\u003c/p>\n\u003cp>The film inspired a wave of environmental action. Its star, Virginia McKenna, created the\u003ca href=\"http://www.bornfree.org.uk/\" target=\"_blank\" rel=\"noopener\"> Born Free Foundation\u003c/a>, an international wildlife protection non-profit. The film also inspired the creation of other groups working to preserve African wildlife and their habitat.\u003c/p>\n\u003cp>McKenna, now 84, will\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=202523~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\"> be at the Festival screening on Wednesday, Apr. 20 t\u003c/a>o talk about the film and her foundation. Other organizations present will include \u003ca href=\"http://amazonwatch.org/\" target=\"_blank\" rel=\"noopener\">Amazon Watch\u003c/a> and the F\u003ca href=\"http://felidaefund.org\" target=\"_blank\" rel=\"noopener\">elidae Conservation Fund\u003c/a>, both Bay Area based groups devoted to preserving wildlife habitats.\u003c/p>\n\u003cp>The Festival will also feature the premiere of \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=202524~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Not Without Us\u003c/a>\u003c/em>, a documentary by San Francisco filmmaker Mark Decena tracing the personal and political journey of seven climate change activists attending the U.N. climate talks in Paris in December.\u003c/p>\n\u003cp>\u003cstrong>Inspiring people to change their behavior\u003c/strong>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003c/aside>\n\u003cp>Decena, looking tired as he raced to get his film ready in time for the \u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=202524~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">world premiere at San Francisco’s Castro Theater\u003c/a> April 20, says \u003cem>Not Without Us\u003c/em> asks audience members to mobilize — as he himself has. “There is the dramatic arc of the characters, becoming activated, but also the realization that global governments can only take it so far, so now it’s up to us,” Decena says. “I didn’t consider myself an activist. But I am definitely changing. I shower less.”\u003c/p>\n\u003cp>Other highlights at the Green Film Festival include \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=204720~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">An American Ascent\u003c/a>\u003c/em>, about nine African Americans climbing Mt. Denali in Alaska, and \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=204725~da07699a-65fc-4b98-b5f5-7cf9edf67f14&epguid=5dbb5744-249c-4f0b-b20b-7d3e07d24618&\" target=\"_blank\" rel=\"noopener\">Catching the Sun\u003c/a>, \u003c/em>a film about a solar jobs program in the East Bay city of Richmond.\u003c/p>\n\u003cp>The San Francisco Green Film Festival is one of the largest movie series devoted to environmental issues in the world. There are several other smaller environmental-themed film festivals in California. Nevada City hosts\u003ca href=\"https://www.wildandscenicf\" target=\"_blank\" rel=\"noopener\"> The Wild and Scenic Film Fest \u003c/a>each January, the city of Venice near Los Angeles has the \u003ca href=\"http://www.theg2gallery.com/g2_green_earth_film_festival.html\" target=\"_blank\" rel=\"noopener\">Green Earth Film Fest\u003c/a> in August. Closer to the Bay Area, there’s T\u003ca href=\"http://oceanfilmfest.org/\" target=\"_blank\" rel=\"noopener\">he San Francisco International Ocean Film Festival\u003c/a>, which wrapped up its screenings in March.\u003c/p>\n\u003cfigure id=\"attachment_11476094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11476094\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/018-e1460141576814-800x488.jpg\" alt=\"San Francisco International Ocean Film Fetival Executive Director Ana Blanco\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-1920x1171.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/018-e1460141576814-960x586.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco International Ocean Film Fetival Executive Director Ana Blanco \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the Green Film Festival, the Ocean Film Festival aims to galvanize action through showing potent content. “It’s not just about getting the facts out there,” says Ocean Film Festival executive director Ana Blanco. “Someone will walk away and say ‘maybe I should change my behavior, maybe I should change my habits, maybe I should encourage my friends to do the same thing.’”\u003c/p>\n\u003cp>\u003cstrong>Appealing to the emotions\u003c/strong>\u003c/p>\n\u003cp>Among the films Blanco showed this year, and which is getting a screening this weekend in \u003ca href=\"http://oceanfilmfest.org/events/arena-ocean-film-festival-april-9-2016\" target=\"_blank\" rel=\"noopener\">Mendocino’s Pt. Arena, \u003c/a>is \u003cem>\u003ca href=\"http://oftheseamovie.com/\" target=\"_blank\" rel=\"noopener\">Of The Sea\u003c/a>. \u003c/em>The film tackles the decline in California fisheries and the toll it’s taken on fishermen.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EWFgd7mPUGU'\n title='//www.youtube.com/embed/EWFgd7mPUGU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the Ocean Film Festival sponsors is the \u003ca href=\"http://farallones.noaa.gov/\" target=\"_blank\" rel=\"noopener\">Greater Farallones National Marine Sanctuary\u003c/a>, an area of almost 1300 square miles of ocean off the Golden Gate. Superintendent Maria Brown says there’s nothing odd about a federal agency providing resources to a film festival. “By showing the films we’re not advocating one view or another,” Brown says. “What we want to do is stimulate that conversation.”\u003c/p>\n\u003cfigure id=\"attachment_11476097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11476097\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/019-800x600.jpg\" alt=\"Farallones Marine Sanctuary Association Execuitve Director Chris Kelley and Greater Farallones National Marine Sanctuary Superintendent Maria Brown\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/019-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farallones Marine Sanctuary Association Execuitve Director Chris Kelley and Greater Farallones National Marine Sanctuary Superintendent Maria Brown \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown sees the festival as a great way to connect audiences to the mission of the sanctuary because of the empathy the films generate for wildlife preservation. “Art has a way of evoking emotion,” Brown says. “And in order for us to protect something, we have to feel some emotion towards it.”\u003c/p>\n\u003cp>\u003cstrong>All doom and gloom\u003c/strong>\u003c/p>\n\u003cp>In an age of global warming and species extinction, Green Film Festival director Rachel Caplan admits the films she shows can sometimes be a bit of a downer. “It can be a lot doom and gloom, and we’re all going to hell in a handbasket,” Caplan says. “It’s hard to pick yourself up and keep going.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Dark Horse Presidential Candidate Andrew W.K. Launches 'The Party Party'",
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"content": "\u003cp>Still on the fence about Hill vs. Bernie? Love Trump's stance on immigration, but Ted Cruz's hairline speaks more directly to your heart and soul?\u003c/p>\n\u003cp>Well don't look now, but there's a new kid in town, and it's none other than the Mayor of Partyville himself: rocker-turned-motivational speaker-and-\u003ca href=\"http://www.villagevoice.com/topic/ask-andrew-wk-6365558\" target=\"_blank\">advice-columnist\u003c/a> Andrew W.K.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bERtaqXtBpI\u003c/p>\n\u003cp>The famous human (who is still best known for his 2001 single \"Party Hard,\" off the album \u003cem>I Get Wet) \u003c/em>rolled out a new website this week to go with an all-new political party he insists is 100 percent real.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thepartyparty.us/\" target=\"_blank\">The Party Party\u003c/a>, according to a screed on its website, aims to be \"an all-inclusive alternative to the two-party model.\" To wit:\u003c/p>\n\u003cblockquote>\u003cp>The Party Party is simple in its mission: To free the American people from the dysfunction that is our two party system. At best, partisan politics has created an insurmountable divide that has separated the people into two categories of Democrat and Republican. The Party Party aims to provide an alternative to the divisive labeling of our current system. Most people have become too caught up in the bickering of our news cycles to realize that we ultimately desire the exact same things: reliable access to education, healthcare, and a sense of social equality.\u003c/p>\n\u003cp>If enough people are willing to liberate themselves from choosing left or right, a third voice can emerge with a much more powerful message. A message that will open the eyes of our representatives and help them see that this “Us versus Them” mentality has kept our country from providing its people with a REAL sense of freedom. If we open our hearts and approach the problems we face with an open mind, real change can be achieved. We hope you will join us on this journey.\u003c/p>\u003c/blockquote>\n\u003cp>The Party Purveyor gave a similarly\u003ca href=\"http://www.rollingstone.com/politics/news/andrew-w-k-on-getting-his-party-party-on-the-2016-ballot-20160407\" target=\"_blank\"> vague interview to Rolling Stone\u003c/a> as well. When asked for his platform, he stated, \"The only thing that I want to achieve at this point — the total vision for this adventure — is a sense of uplifting optimism, trying to see beyond anything that pushes us apart, tears us apart, and not necessarily discourage one another from engaging in argument and debate or fighting for your particular points of view, but to somehow foster a mindset and a state of being that allows all of that to happen and to still feel some type of camaraderie.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So basically, good vibes and not fighting and stuff. Personally, I'm not particularly moved by these words to affiliate myself with the Party Party, especially without concrete details on a platform.\u003c/p>\n\u003cp>Then again, when the likely GOP nominee's entire plan is \"Make America Great Again,\" maybe it's open season? And vague positivity is certainly preferable to publicly espousing, you know, hatred and divisiveness.\u003c/p>\n\u003cfigure id=\"attachment_22021\" class=\"wp-caption aligncenter\" style=\"max-width: 796px\">\u003cimg class=\"size-full wp-image-22021\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f.png\" alt=\"Someone get me this party wall clock for my birthday please. It's June 1st.\" width=\"796\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f.png 796w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f-400x257.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f-768x494.png 768w\" sizes=\"(max-width: 796px) 100vw, 796px\">\u003cfigcaption class=\"wp-caption-text\">Someone get me this party wall clock for my birthday please. It's June 1st.\u003c/figcaption>\u003c/figure>\n\u003cp>Also, compared to those of both the Republican and Democratic frontrunners, it should be said that Andrew W.K.'s online \u003ca href=\"http://www.andrewwk.com/store#!/Party-Gear/c/271402/inview=product58361084&offset=0&sort=normal\" target=\"_blank\">merchandise store\u003c/a> has already won my vote.\u003c/p>\n\u003cp>Regardless of your political leanings: Think for yourselves, my fellow Americans. And when it's time to party, I think we can all agree that one should always party hard.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WccfbPQNMbg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Still on the fence about Hill vs. Bernie? Love Trump's stance on immigration, but Ted Cruz's hairline speaks more directly to your heart and soul?\u003c/p>\n\u003cp>Well don't look now, but there's a new kid in town, and it's none other than the Mayor of Partyville himself: rocker-turned-motivational speaker-and-\u003ca href=\"http://www.villagevoice.com/topic/ask-andrew-wk-6365558\" target=\"_blank\">advice-columnist\u003c/a> Andrew W.K.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bERtaqXtBpI'\n title='//www.youtube.com/embed/bERtaqXtBpI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The famous human (who is still best known for his 2001 single \"Party Hard,\" off the album \u003cem>I Get Wet) \u003c/em>rolled out a new website this week to go with an all-new political party he insists is 100 percent real.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thepartyparty.us/\" target=\"_blank\">The Party Party\u003c/a>, according to a screed on its website, aims to be \"an all-inclusive alternative to the two-party model.\" To wit:\u003c/p>\n\u003cblockquote>\u003cp>The Party Party is simple in its mission: To free the American people from the dysfunction that is our two party system. At best, partisan politics has created an insurmountable divide that has separated the people into two categories of Democrat and Republican. The Party Party aims to provide an alternative to the divisive labeling of our current system. Most people have become too caught up in the bickering of our news cycles to realize that we ultimately desire the exact same things: reliable access to education, healthcare, and a sense of social equality.\u003c/p>\n\u003cp>If enough people are willing to liberate themselves from choosing left or right, a third voice can emerge with a much more powerful message. A message that will open the eyes of our representatives and help them see that this “Us versus Them” mentality has kept our country from providing its people with a REAL sense of freedom. If we open our hearts and approach the problems we face with an open mind, real change can be achieved. We hope you will join us on this journey.\u003c/p>\u003c/blockquote>\n\u003cp>The Party Purveyor gave a similarly\u003ca href=\"http://www.rollingstone.com/politics/news/andrew-w-k-on-getting-his-party-party-on-the-2016-ballot-20160407\" target=\"_blank\"> vague interview to Rolling Stone\u003c/a> as well. When asked for his platform, he stated, \"The only thing that I want to achieve at this point — the total vision for this adventure — is a sense of uplifting optimism, trying to see beyond anything that pushes us apart, tears us apart, and not necessarily discourage one another from engaging in argument and debate or fighting for your particular points of view, but to somehow foster a mindset and a state of being that allows all of that to happen and to still feel some type of camaraderie.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So basically, good vibes and not fighting and stuff. Personally, I'm not particularly moved by these words to affiliate myself with the Party Party, especially without concrete details on a platform.\u003c/p>\n\u003cp>Then again, when the likely GOP nominee's entire plan is \"Make America Great Again,\" maybe it's open season? And vague positivity is certainly preferable to publicly espousing, you know, hatred and divisiveness.\u003c/p>\n\u003cfigure id=\"attachment_22021\" class=\"wp-caption aligncenter\" style=\"max-width: 796px\">\u003cimg class=\"size-full wp-image-22021\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f.png\" alt=\"Someone get me this party wall clock for my birthday please. It's June 1st.\" width=\"796\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f.png 796w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f-400x257.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/63d57a65ab9a2a435762f03964fe651f-768x494.png 768w\" sizes=\"(max-width: 796px) 100vw, 796px\">\u003cfigcaption class=\"wp-caption-text\">Someone get me this party wall clock for my birthday please. It's June 1st.\u003c/figcaption>\u003c/figure>\n\u003cp>Also, compared to those of both the Republican and Democratic frontrunners, it should be said that Andrew W.K.'s online \u003ca href=\"http://www.andrewwk.com/store#!/Party-Gear/c/271402/inview=product58361084&offset=0&sort=normal\" target=\"_blank\">merchandise store\u003c/a> has already won my vote.\u003c/p>\n\u003cp>Regardless of your political leanings: Think for yourselves, my fellow Americans. And when it's time to party, I think we can all agree that one should always party hard.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WccfbPQNMbg'\n title='//www.youtube.com/embed/WccfbPQNMbg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland’s \u003ca href=\"http://losrakas.com/\" target=\"_blank\" rel=\"noopener\">Los Rakas\u003c/a> will be bringing their brand of bilingual hip-hop to the White House later this month as featured performers at a first-of-its-kind summit being hosted by the Obamas.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.brioxy.com/summit\" target=\"_blank\" rel=\"noopener\">Brioxy White House Summit for Innovators of Color,\u003c/a> which will “convene 100 of the country’s top innovators of color in their 20’s and 30’s working to build opportunity for young people of color” is scheduled for Saturday, April 30. And though the full lineup has not been announced yet, the agenda includes discussions about the Black Girl Magic, #BlackLivesMatters, the innovation economy and more.\u003c/p>\n\u003cp>Formed in mid-2000s “in youth centers of Oakland” by two cousins who go by Raka Rich and Raka Dun, the duo had their first hit in 2006 with “Bounce.” The two described the song as being “PanaBay,” a sound they devised that relies heavily on their Panamanian roots — both have lived there at one point or another in their lives. (Their band name comes for a Panamanian slur, “Rakataka,” which translates to someone from a poor upbringing or “hood rat,” according to the \u003ca href=\"http://www.urbandictionary.com/define.php?term=rakataka\" target=\"_blank\" rel=\"noopener\">Urban Dictionary\u003c/a>.)\u003c/p>\n\u003cp>Since then, they have continued to incorporate other genres in their brand of hip hop, such as Reggaeton, Reggae and even New Wave; in 2014, they worked with ’80s Pop rockers Blondie on a track called “I Screwed Up.”\u003c/p>\n\u003cp>The band announced earlier this week they expect to release a self-titled album this year. The album would be the duo’s sixth release and it is unclear whether it will be self-released or put out by a label.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Watch the video for Los Rakas’ new single, “Raka Party,” below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LgtCiuJpDz0\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s \u003ca href=\"http://losrakas.com/\" target=\"_blank\" rel=\"noopener\">Los Rakas\u003c/a> will be bringing their brand of bilingual hip-hop to the White House later this month as featured performers at a first-of-its-kind summit being hosted by the Obamas.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.brioxy.com/summit\" target=\"_blank\" rel=\"noopener\">Brioxy White House Summit for Innovators of Color,\u003c/a> which will “convene 100 of the country’s top innovators of color in their 20’s and 30’s working to build opportunity for young people of color” is scheduled for Saturday, April 30. And though the full lineup has not been announced yet, the agenda includes discussions about the Black Girl Magic, #BlackLivesMatters, the innovation economy and more.\u003c/p>\n\u003cp>Formed in mid-2000s “in youth centers of Oakland” by two cousins who go by Raka Rich and Raka Dun, the duo had their first hit in 2006 with “Bounce.” The two described the song as being “PanaBay,” a sound they devised that relies heavily on their Panamanian roots — both have lived there at one point or another in their lives. (Their band name comes for a Panamanian slur, “Rakataka,” which translates to someone from a poor upbringing or “hood rat,” according to the \u003ca href=\"http://www.urbandictionary.com/define.php?term=rakataka\" target=\"_blank\" rel=\"noopener\">Urban Dictionary\u003c/a>.)\u003c/p>\n\u003cp>Since then, they have continued to incorporate other genres in their brand of hip hop, such as Reggaeton, Reggae and even New Wave; in 2014, they worked with ’80s Pop rockers Blondie on a track called “I Screwed Up.”\u003c/p>\n\u003cp>The band announced earlier this week they expect to release a self-titled album this year. The album would be the duo’s sixth release and it is unclear whether it will be self-released or put out by a label.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"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.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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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"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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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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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
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