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Take the most eye-catching piece in the inaugural show at the newly opened Pace Gallery in Palo Alto. \u003ca href=\"https://www.artsy.net/artwork/james-turrell-pelee\">\u003cem>Pelée \u003c/em>\u003c/a>is a curvaceous LED screen that looks like a window — or really, more like an opening in the wall to another world.\u003c/p>\n\u003cp>“You’ll see reds, and that can fade into other colors,” says Pace Palo Alto President Elizabeth Sullivan. “It’s just beautiful, mesmerizing, really meditative in a way.”\u003c/p>\n\u003cp>Sullivan figures the most casual passer-by will be entranced by the light of the artwork spilling out onto the street. Even those unfamiliar with Turrell’s work may have been exposed by Drake’s video for “Hotline Bling,” albeit without Turrell’s consent: his work was ripped off. (For the record, Turrell has reportedly said he’s \u003ca href=\"http://www.theguardian.com/artanddesign/2015/nov/11/james-turrell-more-people-have-heard-of-me-through-drake-than-anything-else\">not that irked\u003c/a> by the hip hop artist’s co-option of his art.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=uxpDa-c-4Mc]\u003c/p>\n\u003cp>Pace, which has represented Turrell for years, is a bit of an art world celebrity, too. The global art gallery empire, based in New York with four galleries there, maintains outposts in London, Paris, Beijing and Hong Kong.\u003c/p>\n\u003cp>Sullivan won’t say why Pace picked Palo Alto over more obvious choices like San Francisco or Los Angeles. But the local community is happy about the choice. “People in the art world are so excited that Pace would choose to come to Silicon Valley,” says Cathy Kimball, executive director of the \u003ca href=\"http://sjica.org/\">San Jose Institute of Contemporary Art\u003c/a>.\u003c/p>\n\u003cp>Pace started on the Peninsula with a “pop-up” gallery in Menlo Park in a converted Tesla showroom, slated for demolition sometime next year. There were a handful of solid exhibitions featuring names like Alexander Calder and Tara Donovan. Then came a blockbuster by a Japanese group called \u003ca href=\"https://www.team-lab.net/\">teamlab\u003c/a>, which makes ancient Japanese art come alive in floor-to-ceiling digital animations.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=l9IwS1QkZXk]\u003c/p>\n\u003cp>From her vantage point to the south, Kimball looked on with some envy as Pace drew in 45,000 people in less than three months. “That teamlab animation is something to marvel at,” Kimball says. “It’s immersive. It’s so animated. There’s so much to look at.”\u003c/p>\n\u003cp>Kimball insists she’s not really feeling competitive with Pace, though she wishes her organization had resources more in line with the shiny new neighbor up the road. “Pace certainly has a kick ass team,” Kimball says. “They also have a kick ass budget. There aren’t a lot of us who can mount a Turrell show or a teamlab show in the degree that they did in Menlo Park.”\u003c/p>\n\u003cp>Pace is not the only big art muscle flexing on the Peninsula. In the last five years, Stanford has built an entire “arts district” in the heart of its campus. The site includes a new museum next to the Cantor Arts Center built to house the personal collection of one local family, the \u003ca href=\"https://anderson.stanford.edu/about/the-andersons/\">Andersons\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11528236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11528236 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-800x533.jpg\" alt=\"A room at Stanford's Anderson Collection. From left to right: "Timeless Clock," by David Smith (1957); "Lucifer" by Jackson Pollack (1947); "Transfiguration III" by Adolph Gottlieb (1958); and "Figure 8" by Franz Kline (1952).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A room at Stanford’s Anderson Collection. From left to right: “Timeless Clock,” by David Smith (1957); “Lucifer” by Jackson Pollack (1947); “Transfiguration III” by Adolph Gottlieb (1958); and “Figure 8” by Franz Kline (1952). \u003ccite>(Photo: Courtesy of Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent Saturday, a group of curators, gallery owners, collection managers, and other visual arts professionals took a private tour of the museum. The tour was put together by the local chapter of \u003ca href=\"http://www.arttable.org/\">Art Table\u003c/a>, a non-profit that usually organizes special events like this one \u003cspan style=\"background: white\">in San Francisco and the East Bay. \u003c/span>\u003c/p>\n\u003cp>[contextly_sidebar id=”pyeWbiln5qLQqPk75byBZVha284Cg9A0″]But that’s changing, says chapter co-chair Kathy Kenyon. “I think it’s real exciting what they’re doing here with this whole arts section, with the \u003ca href=\"https://anderson.stanford.edu/\">Anderson Collection\u003c/a>, and bringing over the art department so that it is directly connected with the museums here is a huge thing,” Kenyon says. And all of Stanford’s art collection is available to the public for free.\u003c/p>\n\u003cp>There’s more to the scene than the high profile glamour of Stanford and Pace. Municipalities on the Peninsula are also doing a fair bit to nurture local talent. A number of them, including \u003ca href=\"http://ww2.kqed.org/arts/2016/03/15/redwood-city-sidewalk-stencils-draw-your-eyes-to-your-feet/\">Redwood City\u003c/a>, commission and exhibit local artists. Palo Alto goes a step further, providing \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/studios/default.asp\">studio space\u003c/a> for \u003ca href=\"http://cubberleyartists.com/\">25 artists\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11528485\" class=\"wp-caption aligncenter\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528485\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-478x600.jpg\" alt=\""Ribosome Metamorphosis," by chemist-turned-artist Michal Gavish (2016). She's one of the artists who's benefited from Palo Alto's city-sponsored, affordable studio space.\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-400x502.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut.jpg 600w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">“Ribosome Metamorphosis,” by chemist-turned-artist Michal Gavish (2016). She’s one of the artists who’s benefited from Palo Alto’s city-sponsored, affordable studio space. \u003ccite>(Photo: Courtesy of Michal Gavish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Artists and arts groups can be considered here an endangered species,” says Rhyena Halpern, who oversees the city’s public investment in the arts as assistant director of Palo Alto’s \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/\">Community Services Department\u003c/a>. “Because the cost of living is so high, and the cost of doing business is so high.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the very same economic boom has created more people in a position to invest in art. Pace, Halpern says, could well be the harbinger of things to come. “That they took this risk to come here to see what they could do, see if there was a collector base they could tap into: very smart,” Halpern says. “But what it gives the community in return is this amazing access. You know, down the street. It’s incredible!”\u003c/p>\n\n",
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"excerpt": "Stanford University and the Pace gallery are pulling in big names in the visual arts to the Peninsula",
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"title": "James Turrell in Palo Alto: Hot Art Bling the New Thing on the Peninsula | KQED",
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"headline": "James Turrell in Palo Alto: Hot Art Bling the New Thing on the Peninsula",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coming relaunch of the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> has lots of people buzzing in anticipation. But downtown San Francisco is not the only place where truly exciting things are happening on the visual arts front.\u003c/p>\n\u003cp>Super-star artist \u003ca href=\"http://jamesturrell.com/about/introduction/\">James Turrell\u003c/a>, for instance, is touching down in Palo Alto with a pocket-sized exhibition this week, ahead of the re-opening of a \u003ca href=\"http://www.lacma.org/art/exhibition/james-turrell-breathing-light\">major retrospective\u003c/a> of his work at The Los Angeles County Museum of Art in late May.\u003c/p>\n\u003cp>Turrell is famous for his meditations on light and space that play with your depth perception. Take the most eye-catching piece in the inaugural show at the newly opened Pace Gallery in Palo Alto. \u003ca href=\"https://www.artsy.net/artwork/james-turrell-pelee\">\u003cem>Pelée \u003c/em>\u003c/a>is a curvaceous LED screen that looks like a window — or really, more like an opening in the wall to another world.\u003c/p>\n\u003cp>“You’ll see reds, and that can fade into other colors,” says Pace Palo Alto President Elizabeth Sullivan. “It’s just beautiful, mesmerizing, really meditative in a way.”\u003c/p>\n\u003cp>Sullivan figures the most casual passer-by will be entranced by the light of the artwork spilling out onto the street. Even those unfamiliar with Turrell’s work may have been exposed by Drake’s video for “Hotline Bling,” albeit without Turrell’s consent: his work was ripped off. (For the record, Turrell has reportedly said he’s \u003ca href=\"http://www.theguardian.com/artanddesign/2015/nov/11/james-turrell-more-people-have-heard-of-me-through-drake-than-anything-else\">not that irked\u003c/a> by the hip hop artist’s co-option of his art.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uxpDa-c-4Mc'\n title='//www.youtube.com/embed/uxpDa-c-4Mc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Pace, which has represented Turrell for years, is a bit of an art world celebrity, too. The global art gallery empire, based in New York with four galleries there, maintains outposts in London, Paris, Beijing and Hong Kong.\u003c/p>\n\u003cp>Sullivan won’t say why Pace picked Palo Alto over more obvious choices like San Francisco or Los Angeles. But the local community is happy about the choice. “People in the art world are so excited that Pace would choose to come to Silicon Valley,” says Cathy Kimball, executive director of the \u003ca href=\"http://sjica.org/\">San Jose Institute of Contemporary Art\u003c/a>.\u003c/p>\n\u003cp>Pace started on the Peninsula with a “pop-up” gallery in Menlo Park in a converted Tesla showroom, slated for demolition sometime next year. There were a handful of solid exhibitions featuring names like Alexander Calder and Tara Donovan. Then came a blockbuster by a Japanese group called \u003ca href=\"https://www.team-lab.net/\">teamlab\u003c/a>, which makes ancient Japanese art come alive in floor-to-ceiling digital animations.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/l9IwS1QkZXk'\n title='//www.youtube.com/embed/l9IwS1QkZXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>From her vantage point to the south, Kimball looked on with some envy as Pace drew in 45,000 people in less than three months. “That teamlab animation is something to marvel at,” Kimball says. “It’s immersive. It’s so animated. There’s so much to look at.”\u003c/p>\n\u003cp>Kimball insists she’s not really feeling competitive with Pace, though she wishes her organization had resources more in line with the shiny new neighbor up the road. “Pace certainly has a kick ass team,” Kimball says. “They also have a kick ass budget. There aren’t a lot of us who can mount a Turrell show or a teamlab show in the degree that they did in Menlo Park.”\u003c/p>\n\u003cp>Pace is not the only big art muscle flexing on the Peninsula. In the last five years, Stanford has built an entire “arts district” in the heart of its campus. The site includes a new museum next to the Cantor Arts Center built to house the personal collection of one local family, the \u003ca href=\"https://anderson.stanford.edu/about/the-andersons/\">Andersons\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11528236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11528236 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-800x533.jpg\" alt=\"A room at Stanford's Anderson Collection. From left to right: "Timeless Clock," by David Smith (1957); "Lucifer" by Jackson Pollack (1947); "Transfiguration III" by Adolph Gottlieb (1958); and "Figure 8" by Franz Kline (1952).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19262_Anderson_7-2015_27-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A room at Stanford’s Anderson Collection. From left to right: “Timeless Clock,” by David Smith (1957); “Lucifer” by Jackson Pollack (1947); “Transfiguration III” by Adolph Gottlieb (1958); and “Figure 8” by Franz Kline (1952). \u003ccite>(Photo: Courtesy of Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent Saturday, a group of curators, gallery owners, collection managers, and other visual arts professionals took a private tour of the museum. The tour was put together by the local chapter of \u003ca href=\"http://www.arttable.org/\">Art Table\u003c/a>, a non-profit that usually organizes special events like this one \u003cspan style=\"background: white\">in San Francisco and the East Bay. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>But that’s changing, says chapter co-chair Kathy Kenyon. “I think it’s real exciting what they’re doing here with this whole arts section, with the \u003ca href=\"https://anderson.stanford.edu/\">Anderson Collection\u003c/a>, and bringing over the art department so that it is directly connected with the museums here is a huge thing,” Kenyon says. And all of Stanford’s art collection is available to the public for free.\u003c/p>\n\u003cp>There’s more to the scene than the high profile glamour of Stanford and Pace. Municipalities on the Peninsula are also doing a fair bit to nurture local talent. A number of them, including \u003ca href=\"http://ww2.kqed.org/arts/2016/03/15/redwood-city-sidewalk-stencils-draw-your-eyes-to-your-feet/\">Redwood City\u003c/a>, commission and exhibit local artists. Palo Alto goes a step further, providing \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/studios/default.asp\">studio space\u003c/a> for \u003ca href=\"http://cubberleyartists.com/\">25 artists\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11528485\" class=\"wp-caption aligncenter\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528485\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-478x600.jpg\" alt=\""Ribosome Metamorphosis," by chemist-turned-artist Michal Gavish (2016). She's one of the artists who's benefited from Palo Alto's city-sponsored, affordable studio space.\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut-400x502.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19264_MichalGavishRibosomemetamorphosis1_1-qut.jpg 600w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">“Ribosome Metamorphosis,” by chemist-turned-artist Michal Gavish (2016). She’s one of the artists who’s benefited from Palo Alto’s city-sponsored, affordable studio space. \u003ccite>(Photo: Courtesy of Michal Gavish)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Artists and arts groups can be considered here an endangered species,” says Rhyena Halpern, who oversees the city’s public investment in the arts as assistant director of Palo Alto’s \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/\">Community Services Department\u003c/a>. “Because the cost of living is so high, and the cost of doing business is so high.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the very same economic boom has created more people in a position to invest in art. Pace, Halpern says, could well be the harbinger of things to come. “That they took this risk to come here to see what they could do, see if there was a collector base they could tap into: very smart,” Halpern says. “But what it gives the community in return is this amazing access. You know, down the street. It’s incredible!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "CubaCaribe Festival Takes Stock a Year into the 'Great Cuban Thaw'",
"headTitle": "CubaCaribe Festival Takes Stock a Year into the ‘Great Cuban Thaw’ | KQED",
"content": "\u003cp>The annual \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">CubaCaribe dance festival\u003c/a> hit Oakland last weekend, with its “Cuba on my mind” theme for 2016 arriving presciently a year into the Great Cuban Thaw. It’s also been barely a month since Barack Obama’s historic visit to Havana, in the aftermath of which Fidel Castro groused, “we do not need the empire to give us anything.”\u003c/p>\n\u003cp>But it’s safe to say the “empire” itself has greatly benefited from the Cuban diaspora. The vibrant Caribbean music and dance scene in the San Francisco Bay Area attests to the longstanding search by Cuban artists and others from nearby islands for freedom of expression and collaboration opportunities. Cuban ballet dancers, for example, continue to defect to the west, and many of them end up in the Bay Area. As Joan Acocella noted in \u003ca href=\"http://www.newyorker.com/culture/cultural-comment/growing-pains-in-cuban-dance\" target=\"_blank\" rel=\"noopener\">a column last year\u003c/a> for \u003cem>The New Yorker\u003c/em> about the potential impact of the loosening of the trade and travel embargo on “the island’s most important artistic exports, music and dance,” these talented performers crave the modern, often experimental, repertory that is not permitted to flourish in authoritarian soil.\u003c/p>\n\u003cp>The three choreographers represented in the second weekend of the CubaCaribe festival riff on the “Cuba on my mind” theme with imaginative results. Revolution – in some form – is definitely on their minds.\u003c/p>\n\u003cfigure id=\"attachment_11528228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528228\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/EJF_7359-800x514.jpg\" alt=\"George Cheng (on the floor) with singers Rashida Chase and Valerie Troutt in Nicole Klaymoon's ‘Chalk Outlines’\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-1180x758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-1920x1234.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-960x617.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Cheng (on the floor) with singers Rashida Chase and Valerie Troutt in Nicole Klaymoon’s ‘Chalk Outlines (Excerpts)’ \u003ccite>(Photo: Eli Jacobs Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Chalk Outlines (Excerpts)\u003c/em>, a dance, poetry, vocal music, and theater piece created in response to deaths of non-whites as a result of police violence from choreographer Nicole Klaymoon’s \u003ca href=\"http://www.embodimentproject.org/\" target=\"_blank\" rel=\"noopener\">Embodiment Project\u003c/a>, commanding vocalists Valerie Troutt and Rashida Chase sing of Africa, “the mother of civilization,” and invoke Moses (“go tell Pharaoh/let my people go.”) The dancers, all in spanking white, perform crisp and ebullient street dance-style moves, tracing the shapes of corpses with their own bodies. Do we acknowledge the individual humanity of the victims of oppression, Klaymoon seems to be asking with this work, or are they just statistics and chalk outlines at a crime scene?\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 113939924 w=640&h=360]\u003c/aside>\n\u003cp>With her work \u003cem>Gracias A La Vida\u003c/em>, guest choreographer Krissy Keefer assembles a soundtrack of protest songs from Cuba, Peru, and Argentina, alongside tracks well known to U.S. audiences like Nina Simone’s “Mississippi Goddam,” Neil Young’s “Southern Man,” and Marvin Gaye’s “What’s Going On.” In Keefer’s setting of the music, six dancers from the Alayo Dance Company wield wooden stools and a bracing contemporary dance vocabulary in their evolution from prisoners to freedom fighters, egged on by an impeccable ensemble of musicians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, CubaCaribe festival founder Ramón Ramos Alayo’s powerful, grounded, African-inspired movement evokes an astonishing meditation on such themes as the dehumanizing side of technology, the complex nature of transitions, and the fragility of the artistic soul, in three short pieces that bookend the program.\u003c/p>\n\u003cp>\u003cem>Where the Butterflies go (A Donde Van Las Mariposas)\u003c/em> identifies the artist with nature’s most fragile and short-lived creatures, darting above a rippling stream that provides essential nourishment. \u003cem>24/7\u003c/em> puts Ramos Ayala’s dancers in an urban setting, where bird calls are drowned out by the static, buzzing, and ringing of phones. Prisoners of invisible handheld devices, the dancers wear tortured, sleep-deprived stares and strut like robots. As the people of Cuba clamor for technology to underpin a new economic order, \u003cem>24/7\u003c/em> seems to warn against buying into a tech-utopian idyll.\u003c/p>\n\u003cfigure id=\"attachment_11528226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528226\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/EJF_6954-800x533.jpg\" alt=\"Ramón Ramos Alayo and Natalie Aceves in Ramón Ramos Alayo's ‘Where the Butterflies Go / A Donde Van las Mariposas’\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramón Ramos Alayo and Natalie Aceves in Ramón Ramos Alayo’s ‘Where the Butterflies Go / A Donde Van las Mariposas’ \u003ccite>(Photo: Eli Jacobs Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the melancholy but gripping \u003cem>Goodbye\u003c/em>. Enveloped in a swirl of turquoise and a bright red manton, with a sexy cry in her voice, singer Destani Wolf, backed by a splendid trio of musicians, wanders the stage telling us through song that no one knows what tomorrow will bring. Ramos Alayo’s fluid, acrobatic dance moves underscore a resolve to live in the passion of the moment. One of several forceful alliances in this piece is a duet of sisterhood featuring dancers Fredrika Keefer and Jillian Hibbert. Their bond is a glorious mixture of abandon and control that promises shelter in an era of instability and transience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The third and final weekend of the festival moves to San Francisco’s Brava Theater on Friday, Apr. 29 and Saturday, Apr. 30 and promises more of a folkloric bent, with Haitian dance, capoeira, samba de gafieira, and more on the schedule. The festival is also offering dance workshops, and a screening of the documentary \u003cem>They are We\u003c/em> (on Thursday, Apr. 28 at the Museum of the African Disapora) which recounts how an African clan, riven by the slave trade 170 years ago, is reunited through its tribal music. Details on CubaCaribe’s \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">website\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The annual \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">CubaCaribe dance festival\u003c/a> hit Oakland last weekend, with its “Cuba on my mind” theme for 2016 arriving presciently a year into the Great Cuban Thaw. It’s also been barely a month since Barack Obama’s historic visit to Havana, in the aftermath of which Fidel Castro groused, “we do not need the empire to give us anything.”\u003c/p>\n\u003cp>But it’s safe to say the “empire” itself has greatly benefited from the Cuban diaspora. The vibrant Caribbean music and dance scene in the San Francisco Bay Area attests to the longstanding search by Cuban artists and others from nearby islands for freedom of expression and collaboration opportunities. Cuban ballet dancers, for example, continue to defect to the west, and many of them end up in the Bay Area. As Joan Acocella noted in \u003ca href=\"http://www.newyorker.com/culture/cultural-comment/growing-pains-in-cuban-dance\" target=\"_blank\" rel=\"noopener\">a column last year\u003c/a> for \u003cem>The New Yorker\u003c/em> about the potential impact of the loosening of the trade and travel embargo on “the island’s most important artistic exports, music and dance,” these talented performers crave the modern, often experimental, repertory that is not permitted to flourish in authoritarian soil.\u003c/p>\n\u003cp>The three choreographers represented in the second weekend of the CubaCaribe festival riff on the “Cuba on my mind” theme with imaginative results. Revolution – in some form – is definitely on their minds.\u003c/p>\n\u003cfigure id=\"attachment_11528228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528228\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/EJF_7359-800x514.jpg\" alt=\"George Cheng (on the floor) with singers Rashida Chase and Valerie Troutt in Nicole Klaymoon's ‘Chalk Outlines’\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-1180x758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-1920x1234.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-960x617.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Cheng (on the floor) with singers Rashida Chase and Valerie Troutt in Nicole Klaymoon’s ‘Chalk Outlines (Excerpts)’ \u003ccite>(Photo: Eli Jacobs Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Chalk Outlines (Excerpts)\u003c/em>, a dance, poetry, vocal music, and theater piece created in response to deaths of non-whites as a result of police violence from choreographer Nicole Klaymoon’s \u003ca href=\"http://www.embodimentproject.org/\" target=\"_blank\" rel=\"noopener\">Embodiment Project\u003c/a>, commanding vocalists Valerie Troutt and Rashida Chase sing of Africa, “the mother of civilization,” and invoke Moses (“go tell Pharaoh/let my people go.”) The dancers, all in spanking white, perform crisp and ebullient street dance-style moves, tracing the shapes of corpses with their own bodies. Do we acknowledge the individual humanity of the victims of oppression, Klaymoon seems to be asking with this work, or are they just statistics and chalk outlines at a crime scene?\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>With her work \u003cem>Gracias A La Vida\u003c/em>, guest choreographer Krissy Keefer assembles a soundtrack of protest songs from Cuba, Peru, and Argentina, alongside tracks well known to U.S. audiences like Nina Simone’s “Mississippi Goddam,” Neil Young’s “Southern Man,” and Marvin Gaye’s “What’s Going On.” In Keefer’s setting of the music, six dancers from the Alayo Dance Company wield wooden stools and a bracing contemporary dance vocabulary in their evolution from prisoners to freedom fighters, egged on by an impeccable ensemble of musicians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, CubaCaribe festival founder Ramón Ramos Alayo’s powerful, grounded, African-inspired movement evokes an astonishing meditation on such themes as the dehumanizing side of technology, the complex nature of transitions, and the fragility of the artistic soul, in three short pieces that bookend the program.\u003c/p>\n\u003cp>\u003cem>Where the Butterflies go (A Donde Van Las Mariposas)\u003c/em> identifies the artist with nature’s most fragile and short-lived creatures, darting above a rippling stream that provides essential nourishment. \u003cem>24/7\u003c/em> puts Ramos Ayala’s dancers in an urban setting, where bird calls are drowned out by the static, buzzing, and ringing of phones. Prisoners of invisible handheld devices, the dancers wear tortured, sleep-deprived stares and strut like robots. As the people of Cuba clamor for technology to underpin a new economic order, \u003cem>24/7\u003c/em> seems to warn against buying into a tech-utopian idyll.\u003c/p>\n\u003cfigure id=\"attachment_11528226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528226\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/EJF_6954-800x533.jpg\" alt=\"Ramón Ramos Alayo and Natalie Aceves in Ramón Ramos Alayo's ‘Where the Butterflies Go / A Donde Van las Mariposas’\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramón Ramos Alayo and Natalie Aceves in Ramón Ramos Alayo’s ‘Where the Butterflies Go / A Donde Van las Mariposas’ \u003ccite>(Photo: Eli Jacobs Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the melancholy but gripping \u003cem>Goodbye\u003c/em>. Enveloped in a swirl of turquoise and a bright red manton, with a sexy cry in her voice, singer Destani Wolf, backed by a splendid trio of musicians, wanders the stage telling us through song that no one knows what tomorrow will bring. Ramos Alayo’s fluid, acrobatic dance moves underscore a resolve to live in the passion of the moment. One of several forceful alliances in this piece is a duet of sisterhood featuring dancers Fredrika Keefer and Jillian Hibbert. Their bond is a glorious mixture of abandon and control that promises shelter in an era of instability and transience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The third and final weekend of the festival moves to San Francisco’s Brava Theater on Friday, Apr. 29 and Saturday, Apr. 30 and promises more of a folkloric bent, with Haitian dance, capoeira, samba de gafieira, and more on the schedule. The festival is also offering dance workshops, and a screening of the documentary \u003cem>They are We\u003c/em> (on Thursday, Apr. 28 at the Museum of the African Disapora) which recounts how an African clan, riven by the slave trade 170 years ago, is reunited through its tribal music. Details on CubaCaribe’s \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">website\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thought you were done being \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/lets-go-crazy-prince-and-the-subversive-power-of-party-music/\">emotional about Prince\u003c/a>? Not so fast.\u003c/p>\n\u003cp>D'Angelo, whose progressive, eclectic blend of soul, funk and R&B owes a tremendous debt to Prince's influence -- he's\u003ca href=\"http://daily.redbullmusicacademy.com/2014/12/dangelo-black-messiah-inspirations-interview\"> said as much in interviews for years\u003c/a> -- appeared on \u003cem>The Tonight Show \u003c/em>on April 26 to pay tribute to the icon.\u003c/p>\n\u003cp>https://twitter.com/questlove/status/725182139910754304\u003c/p>\n\u003cp>Performing a beautiful rendition of the Prince ballad \"Sometimes It Snows In April,\" D'Angelo had the support of \u003ca href=\"http://www.werprincess.com/#princess\">Princess\u003c/a>, the Prince tribute band comprised of comedian Maya Rudolph and singer-songwriter Gretchen Lieberum.\u003c/p>\n\u003cp>But aside from their voices, D'Angelo is alone in a spotlight at the piano, dressed in a vest that would have made his musical hero proud. So it's all the more heartbreaking when his voice begins to crack with emotion near the end of the song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6uzBHhPEWpE\u003c/p>\n\u003cp>One take-away: In case there was any doubt, real men definitely cry. And also: We're really lucky to have D'Angelo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thought you were done being \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/lets-go-crazy-prince-and-the-subversive-power-of-party-music/\">emotional about Prince\u003c/a>? Not so fast.\u003c/p>\n\u003cp>D'Angelo, whose progressive, eclectic blend of soul, funk and R&B owes a tremendous debt to Prince's influence -- he's\u003ca href=\"http://daily.redbullmusicacademy.com/2014/12/dangelo-black-messiah-inspirations-interview\"> said as much in interviews for years\u003c/a> -- appeared on \u003cem>The Tonight Show \u003c/em>on April 26 to pay tribute to the icon.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Performing a beautiful rendition of the Prince ballad \"Sometimes It Snows In April,\" D'Angelo had the support of \u003ca href=\"http://www.werprincess.com/#princess\">Princess\u003c/a>, the Prince tribute band comprised of comedian Maya Rudolph and singer-songwriter Gretchen Lieberum.\u003c/p>\n\u003cp>But aside from their voices, D'Angelo is alone in a spotlight at the piano, dressed in a vest that would have made his musical hero proud. So it's all the more heartbreaking when his voice begins to crack with emotion near the end of the song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/6uzBHhPEWpE'\n title='//www.youtube.com/embed/6uzBHhPEWpE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One take-away: In case there was any doubt, real men definitely cry. And also: We're really lucky to have D'Angelo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Prince’s longtime lawyer called the death of the superstar a complete shock and said Monday that the singer lived a clean and healthy lifestyle, disputing suggestions that he had a drug addiction.\u003c/p>\n\u003cp>Prince was found dead in Paisley Park, his home and vast recording studio in Chanhassen, Minnesota, on Thursday at the age of 57. An autopsy was conducted, but complete results won’t be in for weeks. Police have said there was no indication of suicide.\u003c/p>\n\u003cp>Lawyer L. Londell McMillan had known Prince for 25 years and at one time was his manager. In a phone interview Monday night, he told The Associated Press he spoke to Prince the Sunday before he died, after it was reported that his plane made an emergency landing to deal with a medical emergency involving the singer.\u003c/p>\n\u003cp>Prince assured McMillan he was fine.\u003c/p>\n\u003cp>“He said he was doing perfect,” McMillan recalled. “He said, ‘OK, I’ll call you soon.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Celebrity website TMZ, citing unidentified sources, reported that Prince was treated for an overdose of the powerful painkiller Percocet while traveling home from concerts in Atlanta last week. The site said his plane made an emergency landing April 15 in Moline, Illinois, where he was briefly hospitalized. Prince had postponed concerts in Atlanta citing an illness but rescheduled them and performed there April 14.\u003c/p>\n\u003cp>Asked about the TMZ report, McMillan said that while Prince may have been in pain and may have taken medication from time to time, he was “not on any drugs that would be any cause for concern.”\u003c/p>\n\u003cp>“People use medication. The question is, are you on meds in a dangerous way?” he said.\u003c/p>\n\u003cp>McMillan noted that Prince, a vegan, was known for his clean lifestyle.\u003c/p>\n\u003cp>“Everybody who knows Prince knows he wasn’t walking around drugged up,” McMillan said. “That’s foolish. No one ever saw Prince and said, ‘He looks high.’ It wasn’t what he was about.”\u003c/p>\n\u003cp>McMillan also said Prince was in great spirits.\u003c/p>\n\u003cp>“Prince had an amazing life. He enjoyed life,” he said. “He had a lot of fun.”\u003c/p>\n\u003cp>McMillan, whose clients also included Michael Jackson, said he owed his career to Prince. He managed the star amid Prince’s battles with his label, Warner Bros. Records. Prince credited him with coming up with the title “The Artist” when he stopped using his name and took on a symbol instead as part of that battle.\u003c/p>\n\u003cp>“I’m shocked and overwhelmed,” McMillan said of Prince’s death.\u003c/p>\n\u003cp>He was among those present for a private and intimate memorial service at Paisley Park on Saturday. Prince was cremated.\u003c/p>\n\u003cp>“It was a very loving and special, solemn and very appreciative,” McMillan said. “I think he would have been proud of how we celebrated his life.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Celebrity website TMZ, citing unidentified sources, reported that Prince was treated for an overdose of the powerful painkiller Percocet while traveling home from concerts in Atlanta last week. The site said his plane made an emergency landing April 15 in Moline, Illinois, where he was briefly hospitalized. Prince had postponed concerts in Atlanta citing an illness but rescheduled them and performed there April 14.\u003c/p>\n\u003cp>Asked about the TMZ report, McMillan said that while Prince may have been in pain and may have taken medication from time to time, he was “not on any drugs that would be any cause for concern.”\u003c/p>\n\u003cp>“People use medication. The question is, are you on meds in a dangerous way?” he said.\u003c/p>\n\u003cp>McMillan noted that Prince, a vegan, was known for his clean lifestyle.\u003c/p>\n\u003cp>“Everybody who knows Prince knows he wasn’t walking around drugged up,” McMillan said. “That’s foolish. No one ever saw Prince and said, ‘He looks high.’ It wasn’t what he was about.”\u003c/p>\n\u003cp>McMillan also said Prince was in great spirits.\u003c/p>\n\u003cp>“Prince had an amazing life. He enjoyed life,” he said. “He had a lot of fun.”\u003c/p>\n\u003cp>McMillan, whose clients also included Michael Jackson, said he owed his career to Prince. He managed the star amid Prince’s battles with his label, Warner Bros. Records. Prince credited him with coming up with the title “The Artist” when he stopped using his name and took on a symbol instead as part of that battle.\u003c/p>\n\u003cp>“I’m shocked and overwhelmed,” McMillan said of Prince’s death.\u003c/p>\n\u003cp>He was among those present for a private and intimate memorial service at Paisley Park on Saturday. Prince was cremated.\u003c/p>\n\u003cp>“It was a very loving and special, solemn and very appreciative,” McMillan said. “I think he would have been proud of how we celebrated his life.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meet Mason Bates — The Man Behind Steve Jobs the Opera",
"headTitle": "Meet Mason Bates — The Man Behind Steve Jobs the Opera | KQED",
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/261228276″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a> writes most of his music in a light, airy home studio on the Peninsula with lots of glass and a view of San Francisco Bay through the trees.\u003c/p>\n\u003cp>But when I visited Bates a few weeks ago, he was working on a piece with a gloomy theme. “\u003cem>Auditorium\u003c/em> starts with the conceit that an orchestra, like a person, can be haunted,” the composer says. “It’s a piece for two orchestras. One that’s living and one that’s dead.”\u003c/p>\n\u003cp>Bates often works to expand the orchestra’s sound universe with electronic dance beats and audio samples. In\u003cem> Auditorium\u003c/em>, which will receive\u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Shostakovich-Symphony-No-9.aspx\" target=\"_blank\" rel=\"noopener\"> its world premiere performances from Wednesday, Apr. 27 – Friday, Apr. 29 in concerts with the San Francisco Symphony\u003c/a> at Davies Symphony Hall, Bates will play the laptop in the orchestra, triggering recordings he’s made of a baroque ensemble. “So when the orchestra — the living one — goes to tune, we hear this ghost kind of blow in, building almost a kind of Ouija board type of relationship,” Bates says.\u003c/p>\n\u003cp>\u003cstrong>High profile fans\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“His sense of mystery is tremendous,” says the San Francisco Symphony’s music director Michael Tilson Thomas. “There’s a sparkle of joy of life in Mason’s Bate’s music, along with his wonderful ear for harmony and musical gesture. He makes everything, sound lustrous.”\u003c/p>\n\u003cfigure id=\"attachment_11525587\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11525587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-600x600.jpg\" alt=\"Mason Bates: Works for Orchestra from the San Francisco Symphony\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra.jpg 920w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mason Bates: Works for Orchestra from the San Francisco Symphony \u003ccite>(Photo: Courtesy SFS Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bates says he works best at home in this studio. He uses both the old fashioned way of writing notes on a page with pencil and paper, as well as more modern tools that fill the room. “There’s the piano, and I’m often banging on that,” Bates says. “And over here among the synths and computer, that’s where I’ m creating the electronic sounds and integrating them into the pieces I’m writing.”\u003c/p>\n\u003cp>Bates says he likes composing especially because it means he can spend time with his wife, a molecular biologist, and their two young children. “I mean not at the same time, that would not work,” he says. “But you know I’m at home, I’m not traveling.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XrvyBCZ4cxc\u003c/p>\n\u003cp>Time at home for any purpose has been precious lately. Bates just started a gig as \u003ca href=\"https://www.kennedy-center.org/calendar/series/MBC\" target=\"_blank\" rel=\"noopener\">composer-in-residence at the Kennedy Center\u003c/a> in Washington D.C. There’s the San Francisco Symphony premiere, and he’s just finished two recording projects, one with the The San Francisco Symphony, and the other with The Boston Modern Orchestra Project. He’ll also be a composer-in residence at the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music \u003c/a>this summer in Santa Cruz, where he’ll work for the sixth time with Festival Director \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a>, a champion of Bates’ music.\u003c/p>\n\u003cp>“I think Mason is extraordinarily talented,” Alsop says. “I enjoy so much having him involved in the performances as well. Often he’s in the orchestra with his laptop, and his music resonates with audiences of today with younger audiences.”\u003c/p>\n\u003cp>\u003cstrong>A draw for younger audiences\u003c/strong>\u003c/p>\n\u003cp>That’s one reason Bates is in demand. Symphony orchestras around the world are worried about aging audiences and a shrinking music business. Composers like Bates up the cool factor. He sometimes DJ’s after-concert parties, and his compositions aren’t thickets of atonality, as with some modern composers: the electronica and dance beats he favors ride on familiar harmonies.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zhhbJ-9lpW0\u003c/p>\n\u003cp>“It’s a sound world that’s very very appealing,” Alsop says. “Some of it is pop oriented, some not. But it’s something everybody can relate to.”\u003c/p>\n\u003cp>\u003cstrong>Accessibility is important\u003c/strong>\u003c/p>\n\u003cp>A few critics and the occasional older audience member have knocked the pop harmonies and beats in some of Bates’ work. But the composer says he wants to be both accessible and something more. “If you want to go to a deep space, a deep listening experience, then you have to find a way to take the listener along with you,” Bates says.\u003c/p>\n\u003cp>Bates’ newest project is a \u003ca href=\"https://www.santafeopera.org/uploadedFiles/The_Company/News/News_Items/2015-08-05%20Santa%20Fe%20Opera%20Announces%20World%20Premiere.pdf\" target=\"_blank\" rel=\"noopener\">Santa Fe Opera commission for 2017\u003c/a>, written with librettist Mark Campbell, about Apple co-founder Steve Jobs. “What if in an opera about a guy who changed communication, everybody communicates through a sound world,” Bates says. “Maybe Steve Jobs has acoustic guitar and electronica, his wife has these oceanic strings, Woz [Apple co-founder Steve Wozniak] has saxophones. And when they’re all on stage together, worlds are colliding.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bates’ music for the opera includes a theme for Jobs’ spiritual adviser which is full of pulsing synthesizers and vibrating prayer bowls. “Storytelling is the idea that possesses me,” the composer says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“His sense of mystery is tremendous,” says the San Francisco Symphony’s music director Michael Tilson Thomas. “There’s a sparkle of joy of life in Mason’s Bate’s music, along with his wonderful ear for harmony and musical gesture. He makes everything, sound lustrous.”\u003c/p>\n\u003cfigure id=\"attachment_11525587\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11525587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-600x600.jpg\" alt=\"Mason Bates: Works for Orchestra from the San Francisco Symphony\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra.jpg 920w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mason Bates: Works for Orchestra from the San Francisco Symphony \u003ccite>(Photo: Courtesy SFS Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bates says he works best at home in this studio. He uses both the old fashioned way of writing notes on a page with pencil and paper, as well as more modern tools that fill the room. “There’s the piano, and I’m often banging on that,” Bates says. “And over here among the synths and computer, that’s where I’ m creating the electronic sounds and integrating them into the pieces I’m writing.”\u003c/p>\n\u003cp>Bates says he likes composing especially because it means he can spend time with his wife, a molecular biologist, and their two young children. “I mean not at the same time, that would not work,” he says. “But you know I’m at home, I’m not traveling.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XrvyBCZ4cxc'\n title='//www.youtube.com/embed/XrvyBCZ4cxc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Time at home for any purpose has been precious lately. Bates just started a gig as \u003ca href=\"https://www.kennedy-center.org/calendar/series/MBC\" target=\"_blank\" rel=\"noopener\">composer-in-residence at the Kennedy Center\u003c/a> in Washington D.C. There’s the San Francisco Symphony premiere, and he’s just finished two recording projects, one with the The San Francisco Symphony, and the other with The Boston Modern Orchestra Project. He’ll also be a composer-in residence at the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music \u003c/a>this summer in Santa Cruz, where he’ll work for the sixth time with Festival Director \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a>, a champion of Bates’ music.\u003c/p>\n\u003cp>“I think Mason is extraordinarily talented,” Alsop says. “I enjoy so much having him involved in the performances as well. Often he’s in the orchestra with his laptop, and his music resonates with audiences of today with younger audiences.”\u003c/p>\n\u003cp>\u003cstrong>A draw for younger audiences\u003c/strong>\u003c/p>\n\u003cp>That’s one reason Bates is in demand. Symphony orchestras around the world are worried about aging audiences and a shrinking music business. Composers like Bates up the cool factor. He sometimes DJ’s after-concert parties, and his compositions aren’t thickets of atonality, as with some modern composers: the electronica and dance beats he favors ride on familiar harmonies.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zhhbJ-9lpW0'\n title='//www.youtube.com/embed/zhhbJ-9lpW0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s a sound world that’s very very appealing,” Alsop says. “Some of it is pop oriented, some not. But it’s something everybody can relate to.”\u003c/p>\n\u003cp>\u003cstrong>Accessibility is important\u003c/strong>\u003c/p>\n\u003cp>A few critics and the occasional older audience member have knocked the pop harmonies and beats in some of Bates’ work. But the composer says he wants to be both accessible and something more. “If you want to go to a deep space, a deep listening experience, then you have to find a way to take the listener along with you,” Bates says.\u003c/p>\n\u003cp>Bates’ newest project is a \u003ca href=\"https://www.santafeopera.org/uploadedFiles/The_Company/News/News_Items/2015-08-05%20Santa%20Fe%20Opera%20Announces%20World%20Premiere.pdf\" target=\"_blank\" rel=\"noopener\">Santa Fe Opera commission for 2017\u003c/a>, written with librettist Mark Campbell, about Apple co-founder Steve Jobs. “What if in an opera about a guy who changed communication, everybody communicates through a sound world,” Bates says. “Maybe Steve Jobs has acoustic guitar and electronica, his wife has these oceanic strings, Woz [Apple co-founder Steve Wozniak] has saxophones. And when they’re all on stage together, worlds are colliding.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bates’ music for the opera includes a theme for Jobs’ spiritual adviser which is full of pulsing synthesizers and vibrating prayer bowls. “Storytelling is the idea that possesses me,” the composer says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Prince’s sister on Tuesday said the superstar musician had no known will and asked a Minnesota court to appoint a special administrator to oversee his estate, though the size of his fortune is unclear.\u003c/p>\n\u003cp>Tyka Nelson, Prince’s only surviving full sibling, said in a court filing that immediate action was necessary to manage Prince’s business interests following his death last week. The documents don’t estimate how much his estate may be worth, but Prince made hundreds of millions of dollars for record companies, concert venues and others, and he owned about $27 million in property in Minnesota.\u003c/p>\n\u003cp>Nelson asked that Bremer Trust, a corporate trust company, be named administrator of the estate. The court documents say Bremer Bank provided financial services to Prince for many years.\u003c/p>\n\u003cp>The filing comes less than a week after the pop star died Thursday at his home in suburban Minneapolis. The outpouring of grief and nostalgia prompted fans to buy 2.3 million of his songs in three days.\u003c/p>\n\u003cp>Prince owned a dozen properties in and around his famous Paisley Park complex in suburban Minneapolis: mostly rural pieces of land and some houses for family members. Public records show those properties were worth about $27 million in 2016.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Estimates of how much licensing his personal brand will bring in after death reach to the purple clouds.\u003c/p>\n\u003cp>“He was as big as they get,” said Mark Roesler, chief executive of CMG Worldwide, which handles licensing for the estates of Marilyn Monroe, James Dean and other late stars.\u003c/p>\n\u003cp>Roesler estimates Prince’s post-mortem earnings will match top-earning dead celebrities like Elvis Presley, whose estate made $55 million in 2015, according to Forbes magazine.\u003c/p>\n\u003cp>“Will there be a business built up around Prince 60 years from now like James Dean? The answer is unequivocally yes,” Roesler said Friday.\u003c/p>\n\u003cp>Nelson’s filing said she had “no reason to believe” that Prince executed a will or any other documents saying what should happen to his estate. Nelson’s filing said she doesn’t know Prince’s assets or debts, but said he had “substantial assets” that require protection.\u003c/p>\n\u003cp>Nelson’s attorneys, Matthew Shea and Brian Dillon of the Minneapolis law firm Gray Plant Mooty, did not immediately return phone calls seeking comment.\u003c/p>\n\u003cp>Irwin Feinberg, a Los Angeles trust and probate lawyer who spoke to The Associated Press before Nelson’s filing, said wealthy people usually create trusts to avoid the public spectacle of probate court. He said it would be unusual for Prince not to have done so.\u003c/p>\n\u003cp>Under Minnesota law, if a person dies without a will — and with no surviving parents, children, or grandchildren — the next people in line to share in the estate are the surviving siblings, including half-siblings.\u003c/p>\n\u003cp>Prince wasn’t married and had no known living children. Nelson is his only full sibling, though he has five half-siblings (two other half-siblings have died).\u003c/p>\n\u003cp>The AP did not find liens or mortgages on any of his properties, which range from a sprawling 160-acre piece of grassland between Lake Lucy and Lake Ann, to a three-bedroom bungalow in Minneapolis that is home to his half brother, Omarr Baker.\u003c/p>\n\u003cp>Prince sold over 100 million albums on his lifetime, according to Warner Music Group. And Pollstar, a concert industry magazine, said that in the years that his tours topped the charts — 10 years over four decades performing — the tours raked in $225 million in ticket sales.\u003c/p>\n\u003cp>His best-earning touring year, when he took in $87.4 million, was 2004, the year he was inducted into the Rock and Roll Hall of Fame and two decades after the soundtrack to \u003cem>Purple Rain\u003c/em> went multi-platinum.\u003c/p>\n\u003cp>But what remained in Prince’s hands is, by any estimate, less than the sum of ticket and album sales. In every record deal, a cut goes to the label, background performers and music publishers, though Prince published and wrote his own songs. Concert ticket revenue is split among the venue, the promoter, staff and the cost of travelling around. And Prince was known to throw expensive parties.\u003c/p>\n\u003cp>Court battles in recent years suggest money wasn’t free flowing.\u003c/p>\n\u003cp>In April 2013, Prince lost a suit filed in New York State’s Supreme Court brought by perfume maker Revelations Perfume and Cosmetics Inc. for failing to promote the “3121” perfume line named after his album from 2006 and which he touted, but only once, in a massive concert that started July 7, 2007 near Macy’s in downtown Minneapolis and ended at 5 a.m. at the First Avenue club, a famous venue from \u003cem>Purple Rain\u003c/em>.\u003c/p>\n\u003cp>He was ordered to pay $4.4 million; he never did. Instead, plaintiff lawyers went searching for assets, found about $3 million in various Minnesota bank accounts, and used court orders to freeze them, according to Brian Slipakoff, a New York lawyer who represented the perfume maker. Prince settled for a lower amount shortly after.\u003c/p>\n\u003cp>“It doesn’t suggest there was oodles of cash lying around,” Slipakoff said last week.\u003c/p>\n\u003cp>Prince encountered tax difficulties several times over the years, including owing back taxes to France in 2012, which he paid up, and overdue property taxes around $450,000 in 2010. In 2013, the IRS filed a federal tax lien against him in Carver County Court in Minnesota for $1.6 million. What happened with that case is unclear.\u003c/p>\n\u003cp>Records on file with Carver County, where Paisley Park is located, show that he was up to date on his property taxes when he died.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Nakashima, an AP Business writer, reported from Los Angeles. AP Entertainment Writer Nekesa Mumbi Moody in New York, and Associated Press writers Doug Glass in Minneapolis and Kevin Burbach in Chanhassen, Minnesota, contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince’s sister on Tuesday said the superstar musician had no known will and asked a Minnesota court to appoint a special administrator to oversee his estate, though the size of his fortune is unclear.\u003c/p>\n\u003cp>Tyka Nelson, Prince’s only surviving full sibling, said in a court filing that immediate action was necessary to manage Prince’s business interests following his death last week. The documents don’t estimate how much his estate may be worth, but Prince made hundreds of millions of dollars for record companies, concert venues and others, and he owned about $27 million in property in Minnesota.\u003c/p>\n\u003cp>Nelson asked that Bremer Trust, a corporate trust company, be named administrator of the estate. The court documents say Bremer Bank provided financial services to Prince for many years.\u003c/p>\n\u003cp>The filing comes less than a week after the pop star died Thursday at his home in suburban Minneapolis. The outpouring of grief and nostalgia prompted fans to buy 2.3 million of his songs in three days.\u003c/p>\n\u003cp>Prince owned a dozen properties in and around his famous Paisley Park complex in suburban Minneapolis: mostly rural pieces of land and some houses for family members. Public records show those properties were worth about $27 million in 2016.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Estimates of how much licensing his personal brand will bring in after death reach to the purple clouds.\u003c/p>\n\u003cp>“He was as big as they get,” said Mark Roesler, chief executive of CMG Worldwide, which handles licensing for the estates of Marilyn Monroe, James Dean and other late stars.\u003c/p>\n\u003cp>Roesler estimates Prince’s post-mortem earnings will match top-earning dead celebrities like Elvis Presley, whose estate made $55 million in 2015, according to Forbes magazine.\u003c/p>\n\u003cp>“Will there be a business built up around Prince 60 years from now like James Dean? The answer is unequivocally yes,” Roesler said Friday.\u003c/p>\n\u003cp>Nelson’s filing said she had “no reason to believe” that Prince executed a will or any other documents saying what should happen to his estate. Nelson’s filing said she doesn’t know Prince’s assets or debts, but said he had “substantial assets” that require protection.\u003c/p>\n\u003cp>Nelson’s attorneys, Matthew Shea and Brian Dillon of the Minneapolis law firm Gray Plant Mooty, did not immediately return phone calls seeking comment.\u003c/p>\n\u003cp>Irwin Feinberg, a Los Angeles trust and probate lawyer who spoke to The Associated Press before Nelson’s filing, said wealthy people usually create trusts to avoid the public spectacle of probate court. He said it would be unusual for Prince not to have done so.\u003c/p>\n\u003cp>Under Minnesota law, if a person dies without a will — and with no surviving parents, children, or grandchildren — the next people in line to share in the estate are the surviving siblings, including half-siblings.\u003c/p>\n\u003cp>Prince wasn’t married and had no known living children. Nelson is his only full sibling, though he has five half-siblings (two other half-siblings have died).\u003c/p>\n\u003cp>The AP did not find liens or mortgages on any of his properties, which range from a sprawling 160-acre piece of grassland between Lake Lucy and Lake Ann, to a three-bedroom bungalow in Minneapolis that is home to his half brother, Omarr Baker.\u003c/p>\n\u003cp>Prince sold over 100 million albums on his lifetime, according to Warner Music Group. And Pollstar, a concert industry magazine, said that in the years that his tours topped the charts — 10 years over four decades performing — the tours raked in $225 million in ticket sales.\u003c/p>\n\u003cp>His best-earning touring year, when he took in $87.4 million, was 2004, the year he was inducted into the Rock and Roll Hall of Fame and two decades after the soundtrack to \u003cem>Purple Rain\u003c/em> went multi-platinum.\u003c/p>\n\u003cp>But what remained in Prince’s hands is, by any estimate, less than the sum of ticket and album sales. In every record deal, a cut goes to the label, background performers and music publishers, though Prince published and wrote his own songs. Concert ticket revenue is split among the venue, the promoter, staff and the cost of travelling around. And Prince was known to throw expensive parties.\u003c/p>\n\u003cp>Court battles in recent years suggest money wasn’t free flowing.\u003c/p>\n\u003cp>In April 2013, Prince lost a suit filed in New York State’s Supreme Court brought by perfume maker Revelations Perfume and Cosmetics Inc. for failing to promote the “3121” perfume line named after his album from 2006 and which he touted, but only once, in a massive concert that started July 7, 2007 near Macy’s in downtown Minneapolis and ended at 5 a.m. at the First Avenue club, a famous venue from \u003cem>Purple Rain\u003c/em>.\u003c/p>\n\u003cp>He was ordered to pay $4.4 million; he never did. Instead, plaintiff lawyers went searching for assets, found about $3 million in various Minnesota bank accounts, and used court orders to freeze them, according to Brian Slipakoff, a New York lawyer who represented the perfume maker. Prince settled for a lower amount shortly after.\u003c/p>\n\u003cp>“It doesn’t suggest there was oodles of cash lying around,” Slipakoff said last week.\u003c/p>\n\u003cp>Prince encountered tax difficulties several times over the years, including owing back taxes to France in 2012, which he paid up, and overdue property taxes around $450,000 in 2010. In 2013, the IRS filed a federal tax lien against him in Carver County Court in Minnesota for $1.6 million. What happened with that case is unclear.\u003c/p>\n\u003cp>Records on file with Carver County, where Paisley Park is located, show that he was up to date on his property taxes when he died.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Nakashima, an AP Business writer, reported from Los Angeles. AP Entertainment Writer Nekesa Mumbi Moody in New York, and Associated Press writers Doug Glass in Minneapolis and Kevin Burbach in Chanhassen, Minnesota, contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Don’t shoot! I’m not just another Latino kid who is about to cause some trouble.” Those are just of the few of the resounding lines in the youth theater production \u003cem>On the Hill,\u003c/em> which aims to spark a conversation about racial profiling, police shootings and the rapid displacement of Latinos from San Francisco. Presented by the Mission District-based arts organization \u003ca href=\"http://www.locobloco.org\" target=\"_blank\" rel=\"noopener\">Loco Bloco\u003c/a> and directed by playwright \u003ca href=\"http://www.paulsflores.com\" target=\"_blank\" rel=\"noopener\">Paul S. Flores\u003c/a>, the play features 25 youth actors from Bay Area high schools and universities.\u003c/p>\n\u003cp>“As a Latino man in this community, you learn the problem is not only how people are looking at you, but how people are taught to look at you … your clothing, the color of your skin,” says 20-year-old David Calderon, who played the role of San Francisco native Alejandro “Alex” Nieto, who was shot and killed by San Francisco Police Department officers in 2014.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2015/02/13/sf-district-attorney-police-acted-lawfully-in-nieto-shooting\" target=\"_blank\" rel=\"noopener\">San Francisco’s District Attorney’s Office \u003c/a>determined the four police officers who fired 59 shots at 28-year-old Nieto acted lawfully, and \u003ca href=\"http://ww2.kqed.org/news/2016/03/10/jury-clears-s-f-police-officers-of-wrongdoing-in-nieto-shooting\" target=\"_blank\" rel=\"noopener\">the jury in a federal civil rights trial \u003c/a>also cleared the officers of any wrongdoing. But for some, the case is \u003ca href=\"http://ww2.kqed.org/news/2014/03/30/130922/nieto-police-shooting-bernal-heights\" target=\"_blank\" rel=\"noopener\">an enduring symbol of troubling police violence and rising tensions\u003c/a> in gentrifying neighborhoods like the Mission, where the Latino population has decreased 27 percent between 2000 and 2013, according to the Census 2000 and American Community Survey 2013.\u003c/p>\n\u003cp>“How do you fight back? How do you claim your identity?” says playwright Flores, a respected youth educator. “That’s what these kids are doing in this play.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>After recognizing the fear and anger many neighborhood youth felt in response to Nieto’s death, Annie Jupiter-Jones, executive director of Loco Bloco, approached Flores to help create and direct \u003cem>On the Hill. \u003c/em>“We wanted to help create a space for healing,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the making of\u003cem> On the Hill,\u003c/em> Flores and the student actors interviewed Nieto’s friend, Mission activist and writer Ben Bac Sierra, and other community leaders, including Juana Tello with Youth in Power and Causa Justa. Their words inspired many of the emotionally-charged monologues by youth in the play, staged at Brava Theater for the first time last month. The two sold-out performances ended with lively “talk back” sessions, in which audience members were invited to participate in a broader conversation about race, identity and perception.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Flores and Loco Bloco plan to continue to work with local youth to develop the play into a full-length production to premiere this fall, and have hopes of also touring it to other cities effected by police shootings. \u003cem>— Kelly Whalen\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Don’t shoot! I’m not just another Latino kid who is about to cause some trouble.” Those are just of the few of the resounding lines in the youth theater production \u003cem>On the Hill,\u003c/em> which aims to spark a conversation about racial profiling, police shootings and the rapid displacement of Latinos from San Francisco. Presented by the Mission District-based arts organization \u003ca href=\"http://www.locobloco.org\" target=\"_blank\" rel=\"noopener\">Loco Bloco\u003c/a> and directed by playwright \u003ca href=\"http://www.paulsflores.com\" target=\"_blank\" rel=\"noopener\">Paul S. Flores\u003c/a>, the play features 25 youth actors from Bay Area high schools and universities.\u003c/p>\n\u003cp>“As a Latino man in this community, you learn the problem is not only how people are looking at you, but how people are taught to look at you … your clothing, the color of your skin,” says 20-year-old David Calderon, who played the role of San Francisco native Alejandro “Alex” Nieto, who was shot and killed by San Francisco Police Department officers in 2014.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2015/02/13/sf-district-attorney-police-acted-lawfully-in-nieto-shooting\" target=\"_blank\" rel=\"noopener\">San Francisco’s District Attorney’s Office \u003c/a>determined the four police officers who fired 59 shots at 28-year-old Nieto acted lawfully, and \u003ca href=\"http://ww2.kqed.org/news/2016/03/10/jury-clears-s-f-police-officers-of-wrongdoing-in-nieto-shooting\" target=\"_blank\" rel=\"noopener\">the jury in a federal civil rights trial \u003c/a>also cleared the officers of any wrongdoing. But for some, the case is \u003ca href=\"http://ww2.kqed.org/news/2014/03/30/130922/nieto-police-shooting-bernal-heights\" target=\"_blank\" rel=\"noopener\">an enduring symbol of troubling police violence and rising tensions\u003c/a> in gentrifying neighborhoods like the Mission, where the Latino population has decreased 27 percent between 2000 and 2013, according to the Census 2000 and American Community Survey 2013.\u003c/p>\n\u003cp>“How do you fight back? How do you claim your identity?” says playwright Flores, a respected youth educator. “That’s what these kids are doing in this play.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>After recognizing the fear and anger many neighborhood youth felt in response to Nieto’s death, Annie Jupiter-Jones, executive director of Loco Bloco, approached Flores to help create and direct \u003cem>On the Hill. \u003c/em>“We wanted to help create a space for healing,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the making of\u003cem> On the Hill,\u003c/em> Flores and the student actors interviewed Nieto’s friend, Mission activist and writer Ben Bac Sierra, and other community leaders, including Juana Tello with Youth in Power and Causa Justa. Their words inspired many of the emotionally-charged monologues by youth in the play, staged at Brava Theater for the first time last month. The two sold-out performances ended with lively “talk back” sessions, in which audience members were invited to participate in a broader conversation about race, identity and perception.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Flores and Loco Bloco plan to continue to work with local youth to develop the play into a full-length production to premiere this fall, and have hopes of also touring it to other cities effected by police shootings. \u003cem>— Kelly Whalen\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Filmmaker Spends 7 Years Documenting Life Inside Soledad Prison",
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"content": "\u003cp>Usually, when journalists try to get into a prison to talk to inmates, we’re lucky if we’re able to get a few minutes for an interview with a “model prisoner.” But \u003ca href=\"https://backbonemediaorg.wordpress.com/about/noel-schwerin-bio/\">Noel Schwerin\u003c/a> talked her way into spending seven years filming inside Soledad prison, with unprecedented access to both inmates and prison staff.\u003c/p>\n\u003cp>Schwerin’s documentary, “\u003ca href=\"http://www.idealworldfilm.org/#new-page-3\">In An Ideal World\u003c/a>,\" brings us an intimate portrait from inside inmates’ cells, meetings between the warden and prisoners, and the halls of the prison, even during lockdowns. Its first national broadcast debuts Tuesday, April 26, on the public television show \u003ca href=\"http://worldchannel.org/programs/america-reframed/\">\"America Reframed.\"\u003c/a>\u003c/p>\n\u003cp>Schwerin says getting access was all about building trust with both inmates and prison staff.\u003c/p>\n\u003cp>“Soledad is an old-school prison. It’s not used to the kind of coverage and attention that a place like San Quentin gets. Nobody goes inside, nobody listens to these people,” Schwerin says. “I think people on both sides of the prison bars are pretty marginalized, so having their voice really carefully listened to, they really appreciated that.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/260434809\" 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 \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=21234\">film focuses\u003c/a> on three main characters: \u003cstrong>John Piccirillo\u003c/strong>, a leader for the white prisoners, who ends up participating in a mixed-race workshop on violence prevention; \u003cstrong>Sam Lewis\u003c/strong>, an African-American inmate who forges an unexpected friendship with Piccirillo; and \u003cstrong>Ben Curry\u003c/strong>, the warden, who’s surprisingly candid in his reflections on working in the prison system for decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"It’s impossible to spend time at a prison without getting an incredible sense of the enormous humanity behind bars,” says Schwerin. “That was a big part of what I was interested in. What does it take to maintain that balance of human beings on both sides of the bars? It was a way of bringing people past the fear and the stereotypes.”\u003c/p>\n\u003cfigure id=\"attachment_10937573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10937573 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/PrisonersWorkshop-800x600.jpg\" alt=\"Inmates including Sam Lewis (second from left) participate in an alternatives to violence workshop at Soledad Prison.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inmates, including Sam Lewis, (second from left) participate in an alternatives to violence workshop at Soledad Prison. \u003ccite>(Photo: Alison Raaum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schwerin says she didn't encounter many obstacles as a white woman filming in the prison, despite the fact that the setting was so male-dominated and racially charged.\u003c/p>\n\u003cp>“Particularly with the lifers, there’s a deep respect for women, maybe older women like me,” says Schwerin. “Women tend to be the last ones to leave them, their mothers, sisters, daughters, when everybody else falls away over the years.\u003c/p>\n\u003cp>\"I think they were impressed that I could get in and keep coming in. I wasn’t just disappearing, I really wanted to know what they had to say, and what was not being said. There’s a deep respect for women who want to listen.”\u003c/p>\n\u003cp>The challenges of filming inside, says Schwerin, were more mundane: not being able to schedule interviews in advance or control the lighting for them.\u003c/p>\n\u003cp>Schwerin began filming soon after a U.S. \u003ca href=\"http://www.scotusblog.com/2005/02/racial-segregation-in-prison-may-be-curbed/\">Supreme Court settlement\u003c/a> in 2005 ordered California to stop housing prisoners in \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=93336656\">racially segregated cells.\u003c/a> The film shows how resistant both prison staff and inmates were to housing inmates of different races together.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/162981039\" width=\"800\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“As soon as you walk into prison, you’re struck by the unapologetic display of power,” says Schwerin. \"So how do you maintain power like that? In prison, it’s done along racial lines. We can all agree that separate is not equal, but when it’s been part of an institutional culture for 40 years, it’s become a tool of survival. It’s more complicated than ‘these are the good guys, these are the bad guys.’ ”\u003c/p>\n\u003cp>Tuesday’s broadcast marks the film’s national debut, but Schwerin has shown the film at festivals and community screenings attended by both former prisoners and prison staff.\u003c/p>\n\u003cp>“It has allowed for some remarkable conversations. One of the lieutenants in the film brought his family to a screening. They wanted to see what it looked like inside, because he’d been working there for 40 years. Within 10 minutes of watching the film, the entire family was crying,” recalls Schwerin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I had family members who said, ‘I wish I’d seen your film before my husband came home. I would have so much better understood the challenges he was facing when he got out.’ The film seems to allow for a conversation which otherwise could be extremely polarized.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Usually, when journalists try to get into a prison to talk to inmates, we’re lucky if we’re able to get a few minutes for an interview with a “model prisoner.” But \u003ca href=\"https://backbonemediaorg.wordpress.com/about/noel-schwerin-bio/\">Noel Schwerin\u003c/a> talked her way into spending seven years filming inside Soledad prison, with unprecedented access to both inmates and prison staff.\u003c/p>\n\u003cp>Schwerin’s documentary, “\u003ca href=\"http://www.idealworldfilm.org/#new-page-3\">In An Ideal World\u003c/a>,\" brings us an intimate portrait from inside inmates’ cells, meetings between the warden and prisoners, and the halls of the prison, even during lockdowns. Its first national broadcast debuts Tuesday, April 26, on the public television show \u003ca href=\"http://worldchannel.org/programs/america-reframed/\">\"America Reframed.\"\u003c/a>\u003c/p>\n\u003cp>Schwerin says getting access was all about building trust with both inmates and prison staff.\u003c/p>\n\u003cp>“Soledad is an old-school prison. It’s not used to the kind of coverage and attention that a place like San Quentin gets. Nobody goes inside, nobody listens to these people,” Schwerin says. “I think people on both sides of the prison bars are pretty marginalized, so having their voice really carefully listened to, they really appreciated that.”\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/260434809&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/260434809'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=21234\">film focuses\u003c/a> on three main characters: \u003cstrong>John Piccirillo\u003c/strong>, a leader for the white prisoners, who ends up participating in a mixed-race workshop on violence prevention; \u003cstrong>Sam Lewis\u003c/strong>, an African-American inmate who forges an unexpected friendship with Piccirillo; and \u003cstrong>Ben Curry\u003c/strong>, the warden, who’s surprisingly candid in his reflections on working in the prison system for decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"It’s impossible to spend time at a prison without getting an incredible sense of the enormous humanity behind bars,” says Schwerin. “That was a big part of what I was interested in. What does it take to maintain that balance of human beings on both sides of the bars? It was a way of bringing people past the fear and the stereotypes.”\u003c/p>\n\u003cfigure id=\"attachment_10937573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10937573 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/PrisonersWorkshop-800x600.jpg\" alt=\"Inmates including Sam Lewis (second from left) participate in an alternatives to violence workshop at Soledad Prison.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/PrisonersWorkshop-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inmates, including Sam Lewis, (second from left) participate in an alternatives to violence workshop at Soledad Prison. \u003ccite>(Photo: Alison Raaum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schwerin says she didn't encounter many obstacles as a white woman filming in the prison, despite the fact that the setting was so male-dominated and racially charged.\u003c/p>\n\u003cp>“Particularly with the lifers, there’s a deep respect for women, maybe older women like me,” says Schwerin. “Women tend to be the last ones to leave them, their mothers, sisters, daughters, when everybody else falls away over the years.\u003c/p>\n\u003cp>\"I think they were impressed that I could get in and keep coming in. I wasn’t just disappearing, I really wanted to know what they had to say, and what was not being said. There’s a deep respect for women who want to listen.”\u003c/p>\n\u003cp>The challenges of filming inside, says Schwerin, were more mundane: not being able to schedule interviews in advance or control the lighting for them.\u003c/p>\n\u003cp>Schwerin began filming soon after a U.S. \u003ca href=\"http://www.scotusblog.com/2005/02/racial-segregation-in-prison-may-be-curbed/\">Supreme Court settlement\u003c/a> in 2005 ordered California to stop housing prisoners in \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=93336656\">racially segregated cells.\u003c/a> The film shows how resistant both prison staff and inmates were to housing inmates of different races together.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/162981039\" width=\"800\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“As soon as you walk into prison, you’re struck by the unapologetic display of power,” says Schwerin. \"So how do you maintain power like that? In prison, it’s done along racial lines. We can all agree that separate is not equal, but when it’s been part of an institutional culture for 40 years, it’s become a tool of survival. It’s more complicated than ‘these are the good guys, these are the bad guys.’ ”\u003c/p>\n\u003cp>Tuesday’s broadcast marks the film’s national debut, but Schwerin has shown the film at festivals and community screenings attended by both former prisoners and prison staff.\u003c/p>\n\u003cp>“It has allowed for some remarkable conversations. One of the lieutenants in the film brought his family to a screening. They wanted to see what it looked like inside, because he’d been working there for 40 years. Within 10 minutes of watching the film, the entire family was crying,” recalls Schwerin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I had family members who said, ‘I wish I’d seen your film before my husband came home. I would have so much better understood the challenges he was facing when he got out.’ The film seems to allow for a conversation which otherwise could be extremely polarized.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Our “\u003ca href=\"http://ww2.kqed.org/news/series/my-spot\" target=\"_blank\">My Spot\u003c/a>” series shares personal experiences with special places in California.\u003c/em>\u003c/p>\n\u003cp>For Josh Elmore, San Francisco's Sutro Baths holds a special place in his heart. \u003c/p>\n\u003cp>“I took my now, long-term girlfriend on our first date to the Sutro Baths,” he says. \"It was after a long day. We had gone to a Giants game, to a karaoke bar for a friend’s birthday and then, I thought the perfect place to top off the night would be the Sutro Baths.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/260435472\" 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>Built in 1896 by former San Francisco Mayor Adolph Sutro, the baths once held seven swimming pools, five of them heated. It also housed a museum containing Egyptian mummies, as well as an ice skating rink, multiple swings, trampolines and slides.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=\"owx5sLunjBttLpwNwCUb85kWOclnAiJs\"]\u003c/p>\n\u003cp>Yet, what was once the largest indoor pool house in the world is a relic, and its remains continue to attract tourists and locals alike.\u003c/p>\n\u003cp>\"Sutro Baths are at the very west end of San Francisco,\" the 29 year-old Ph.D. student says. “You can walk out on the remains of the buildings, so the footings from the original buildings are still standing. There’s some skeletons of concrete where you can see where the buildings once stood.”\u003c/p>\n\u003cp>Financial troubles caused the baths to be closed down and sold to developers in 1964. High-rise apartments were set to be constructed in their place, but during demolition a fire destroyed what remained. Plans for the apartments were soon scraped, and in 1973 the National Park Service purchased the site.\u003c/p>\n\u003cp>The Sutro Baths are now a part of the Golden Gate National Recreation Area, where visitors like Elmore can walk among the ruins. He says the wonders of the site keep him coming back to explore.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ScJBD6bbYzQ\u003c/p>\n\u003cp>“It’s one of the places, one of the many places that when you first come to it, you feel like you’ve stumbled upon some hidden treasure that nobody else has been or seen before ” Elmore says.\u003c/p>\n\u003cp>No experience at the baths is the same, he says, it can vary day by day. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It depends on the weather, because you could be going there and the weather will put you a little on edge you know. If the waves are crashing really hard then it’s more of a feeling that a tsunami might hit. You know it really puts you in the throes of nature.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Our “\u003ca href=\"http://ww2.kqed.org/news/series/my-spot\" target=\"_blank\">My Spot\u003c/a>” series shares personal experiences with special places in California.\u003c/em>\u003c/p>\n\u003cp>For Josh Elmore, San Francisco's Sutro Baths holds a special place in his heart. \u003c/p>\n\u003cp>“I took my now, long-term girlfriend on our first date to the Sutro Baths,” he says. \"It was after a long day. We had gone to a Giants game, to a karaoke bar for a friend’s birthday and then, I thought the perfect place to top off the night would be the Sutro Baths.”\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/260435472&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/260435472'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Built in 1896 by former San Francisco Mayor Adolph Sutro, the baths once held seven swimming pools, five of them heated. It also housed a museum containing Egyptian mummies, as well as an ice skating rink, multiple swings, trampolines and slides.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Yet, what was once the largest indoor pool house in the world is a relic, and its remains continue to attract tourists and locals alike.\u003c/p>\n\u003cp>\"Sutro Baths are at the very west end of San Francisco,\" the 29 year-old Ph.D. student says. “You can walk out on the remains of the buildings, so the footings from the original buildings are still standing. There’s some skeletons of concrete where you can see where the buildings once stood.”\u003c/p>\n\u003cp>Financial troubles caused the baths to be closed down and sold to developers in 1964. High-rise apartments were set to be constructed in their place, but during demolition a fire destroyed what remained. Plans for the apartments were soon scraped, and in 1973 the National Park Service purchased the site.\u003c/p>\n\u003cp>The Sutro Baths are now a part of the Golden Gate National Recreation Area, where visitors like Elmore can walk among the ruins. He says the wonders of the site keep him coming back to explore.\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/ScJBD6bbYzQ'\n title='//www.youtube.com/embed/ScJBD6bbYzQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s one of the places, one of the many places that when you first come to it, you feel like you’ve stumbled upon some hidden treasure that nobody else has been or seen before ” Elmore says.\u003c/p>\n\u003cp>No experience at the baths is the same, he says, it can vary day by day. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It depends on the weather, because you could be going there and the weather will put you a little on edge you know. If the waves are crashing really hard then it’s more of a feeling that a tsunami might hit. You know it really puts you in the throes of nature.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "L.A. Exhibit Makes Disposable Plastic Trash Impossible to Ignore",
"title": "L.A. Exhibit Makes Disposable Plastic Trash Impossible to Ignore",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Discarded plastic cups and bottles are so prevalent, they’re almost invisible. Whether it’s an iced coffee cup from Starbucks or a red Solo cup at a party, or a water bottle bought from a gas station, they are made to be used and thrown away minutes later.\u003c/p>\n\u003cp>Two artists are trying to raise awareness of the harmful impact of these plastic objects. Using post-consumer recycled plastic, they created two large inflatable sculptures, each about the size of a school bus. One is shaped like a simple plastic bottle. They other is a plastic cup with a lid and a green straw.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/260435732\" 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>On a recent weekend, the artists -- \u003ca href=\"http://janacruderfineart.com/\">Jana Cruder\u003c/a> and \u003ca href=\"http://www.matthewlapenta.com/\">Matthew LaPenta\u003c/a> -- set up their sculptures in Pershing Square, a park surrounded by glittering skyscrapers in downtown Los Angeles. Passersby snapped selfies in front of the bulbous shapes and approached the artists to ask questions about their intention.\u003c/p>\n\u003cp>Cruder and LaPenta call this work “Natural Plasticity,” a phrase that both draws attention to just how unnatural plastic actually is, and is also a reference to “neural plasticity,” the brain's ability to reorganize itself by forming new neural connections. Their goal is to change how people think about plastic, and influence consumer behavior.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Created from the byproduct of oil and natural gas production, the neurotoxins and chemicals found in plastic have been linked to a host of public health concerns, including diabetes, obesity, various forms of cancer and reproductive problems.\u003c/p>\n\u003cfigure id=\"attachment_10937346\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10937346\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS19244_IMG_1425-qut.jpg\" alt=\"The goal of artists Matthew LaPenta and Jana Cruder is to change how people think about plastic, and influence consumer behavior.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The goal of artists Matthew LaPenta and Jana Cruder is to change how people think about plastic, and influence consumer behavior. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists plan to bring their sculptures to other locations around Los Angeles. LaPenta said the goal is to head west along the L.A. River, mimicking the journey of plastic trash toward the ocean.\u003c/p>\n\u003cp>“Because that's a huge problem, that everything's being flushed out to the ocean. And we're not really being responsible,” LaPenta said.\u003c/p>\n\u003cp>The artists cite Claes Oldenburg, the sculptor who turns ink stamps, shuttlecocks and ice cream cones into public art, as a major influence on their work. They also credit Chinese dissident artist and activist Ai Weiwei as a political influence.\u003c/p>\n\u003cp>Cruder said her awareness of disposable plastic began after the couple watched a documentary called \u003ca href=\"https://www.youtube.com/watch?v=a7X-J1DhfjE\">\u003cem>Plastic Planet\u003c/em>\u003c/a>, a 14-country tour of plastic manufacturing and health dangers associated with products made of synthetic polymers. Later, during hikes through national parks, the couple would see plastic trash thrown everywhere.\u003c/p>\n\u003cp>But it was her personal health that really moved Cruder to act.\u003c/p>\n\u003cp>[contextly_sidebar id=\"eHFv77HSVvhO7klVm7GaalxH3nvIzLLG\"]\u003c/p>\n\u003cp>“My mother had breast cancer most of my life and when she passed away, I did a ton of research to make sure that I don't get breast cancer,” Cruder says. “And one of the things that I learned was about plastic and how it affects women specifically, our endocrine systems. And from that awareness, this choice in eradication of plastic out of my life happened.”\u003c/p>\n\u003cp>Policy activists say the amount of plastic that ends up in our oceans has created a public health crisis. Visual artist Dianna Cohen runs Plastic Pollution Coalition, a global alliance of NGOs and businesses. She came out to the park to see the artwork herself.\u003c/p>\n\u003cp>“Some people have heard of the \u003ca href=\"http://education.nationalgeographic.org/encyclopedia/great-pacific-garbage-patch/\">Great Pacific Garbage Patch\u003c/a>. Well, we’ve got multiple garbage patches in all five major oceans in the world,” Cohen said. “We’re not saying that they’re islands of plastic, we’re saying the entire ocean has become a plastic soup.”\u003c/p>\n\u003cp>Cohen says public art like this can actually change people’s behavior. “To me, what this does is, it’s in your face,” Cohen said. “And the thing about it is, we become immune to seeing this stuff. If you drive home tonight, you’ll see it along the side of the road. You know, you’ll see it everywhere. And people don’t even pick it up anymore because there’s so much of it.”\u003c/p>\n\u003cfigure id=\"attachment_10937347\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg class=\"size-full wp-image-10937347\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut.jpg\" alt=\"The artists built the sculptures out of post-consumer recycled plastic.\" width=\"1280\" height=\"721\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut.jpg 1280w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-800x451.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-1180x665.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-960x541.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The artists built the sculptures out of post-consumer recycled plastic. \u003ccite>(Guina Elvis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artwork also resonated with Eric Gharakhanian, who happened upon it while walking through downtown. He thinks projects like “Natural Plasticity” may lead people to rethink their use of disposable plastic.\u003c/p>\n\u003cp>“I think it'll make people more conscious of it, because it seems all too common to just see like a bottle on the ground. And to sort of have that like in such a magnified and large form, I think it might make people consider that,” Gharakhanian said.\u003c/p>\n\u003cp>Gharakhanian said he didn’t realize at first that the objects are meant to draw attention to how much of this plastic ends up in the oceans. That’s why the artists say they need to be present with the art, to help make that connection and suggest ways to reduce the use of disposable plastic.\u003c/p>\n\u003caside class=\"pullquote alignright\">'We’re not saying that they’re islands of plastic, we’re saying the entire ocean has become a plastic soup.'\u003c/aside>\n\u003cp>“I’m sorry guys, recycling doesn’t work, because we're producing way more than we can ever recycle, and we're exporting our recyclables,” Cruder said. “Other countries don't really know what to do with it. So, it’s refusing, it's getting to the point of saying no, I'm not going to use disposable plastic in my life and if we as consumers shift that, then I think those who make things that we buy will shift as well. So, it’s about shifting perspective.”\u003c/p>\n\u003cp>The use of inflatable plastic sculptures comes with its own headaches. Strong winds require the use of sandbags to hold the bottle and cup in place. Visitors tend to poke and prod the sculptures, requiring the artists to politely ask them to back away. And on a sunny afternoon, the heat demands the artists re-inflate the works using a rather loud air pump.\u003c/p>\n\u003cp>The appearance of “Natural Plasticity” in Pershing Square was made possible through funding from \u003ca href=\"http://doartfoundation.org/\">Do Art Foundation\u003c/a>, RVCC, \u003ca href=\"http://www.sharkallies.com/\">Shark Allies\u003c/a> and support by the City of LA Department of Recreation and Parks. After the sculptures reach the Pacific Ocean, the artists want to keep it moving. Their next stops could include Yosemite, Sequoia & Kings Canyon and other national parks fighting the onslaught of plastic.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>You can see “Natural Plasticity” on display in Los Angeles at Griffith Park on Saturday, April 30, and Elysian Park on Sunday, May 1st.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Discarded plastic cups and bottles are so prevalent, they’re almost invisible. Whether it’s an iced coffee cup from Starbucks or a red Solo cup at a party, or a water bottle bought from a gas station, they are made to be used and thrown away minutes later.\u003c/p>\n\u003cp>Two artists are trying to raise awareness of the harmful impact of these plastic objects. Using post-consumer recycled plastic, they created two large inflatable sculptures, each about the size of a school bus. One is shaped like a simple plastic bottle. They other is a plastic cup with a lid and a green straw.\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/260435732&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/260435732'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On a recent weekend, the artists -- \u003ca href=\"http://janacruderfineart.com/\">Jana Cruder\u003c/a> and \u003ca href=\"http://www.matthewlapenta.com/\">Matthew LaPenta\u003c/a> -- set up their sculptures in Pershing Square, a park surrounded by glittering skyscrapers in downtown Los Angeles. Passersby snapped selfies in front of the bulbous shapes and approached the artists to ask questions about their intention.\u003c/p>\n\u003cp>Cruder and LaPenta call this work “Natural Plasticity,” a phrase that both draws attention to just how unnatural plastic actually is, and is also a reference to “neural plasticity,” the brain's ability to reorganize itself by forming new neural connections. Their goal is to change how people think about plastic, and influence consumer behavior.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Created from the byproduct of oil and natural gas production, the neurotoxins and chemicals found in plastic have been linked to a host of public health concerns, including diabetes, obesity, various forms of cancer and reproductive problems.\u003c/p>\n\u003cfigure id=\"attachment_10937346\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10937346\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS19244_IMG_1425-qut.jpg\" alt=\"The goal of artists Matthew LaPenta and Jana Cruder is to change how people think about plastic, and influence consumer behavior.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19244_IMG_1425-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The goal of artists Matthew LaPenta and Jana Cruder is to change how people think about plastic, and influence consumer behavior. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists plan to bring their sculptures to other locations around Los Angeles. LaPenta said the goal is to head west along the L.A. River, mimicking the journey of plastic trash toward the ocean.\u003c/p>\n\u003cp>“Because that's a huge problem, that everything's being flushed out to the ocean. And we're not really being responsible,” LaPenta said.\u003c/p>\n\u003cp>The artists cite Claes Oldenburg, the sculptor who turns ink stamps, shuttlecocks and ice cream cones into public art, as a major influence on their work. They also credit Chinese dissident artist and activist Ai Weiwei as a political influence.\u003c/p>\n\u003cp>Cruder said her awareness of disposable plastic began after the couple watched a documentary called \u003ca href=\"https://www.youtube.com/watch?v=a7X-J1DhfjE\">\u003cem>Plastic Planet\u003c/em>\u003c/a>, a 14-country tour of plastic manufacturing and health dangers associated with products made of synthetic polymers. Later, during hikes through national parks, the couple would see plastic trash thrown everywhere.\u003c/p>\n\u003cp>But it was her personal health that really moved Cruder to act.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“My mother had breast cancer most of my life and when she passed away, I did a ton of research to make sure that I don't get breast cancer,” Cruder says. “And one of the things that I learned was about plastic and how it affects women specifically, our endocrine systems. And from that awareness, this choice in eradication of plastic out of my life happened.”\u003c/p>\n\u003cp>Policy activists say the amount of plastic that ends up in our oceans has created a public health crisis. Visual artist Dianna Cohen runs Plastic Pollution Coalition, a global alliance of NGOs and businesses. She came out to the park to see the artwork herself.\u003c/p>\n\u003cp>“Some people have heard of the \u003ca href=\"http://education.nationalgeographic.org/encyclopedia/great-pacific-garbage-patch/\">Great Pacific Garbage Patch\u003c/a>. Well, we’ve got multiple garbage patches in all five major oceans in the world,” Cohen said. “We’re not saying that they’re islands of plastic, we’re saying the entire ocean has become a plastic soup.”\u003c/p>\n\u003cp>Cohen says public art like this can actually change people’s behavior. “To me, what this does is, it’s in your face,” Cohen said. “And the thing about it is, we become immune to seeing this stuff. If you drive home tonight, you’ll see it along the side of the road. You know, you’ll see it everywhere. And people don’t even pick it up anymore because there’s so much of it.”\u003c/p>\n\u003cfigure id=\"attachment_10937347\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg class=\"size-full wp-image-10937347\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut.jpg\" alt=\"The artists built the sculptures out of post-consumer recycled plastic.\" width=\"1280\" height=\"721\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut.jpg 1280w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-800x451.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-1180x665.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS19249_Guina_Elvis_Image_1-qut-960x541.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The artists built the sculptures out of post-consumer recycled plastic. \u003ccite>(Guina Elvis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artwork also resonated with Eric Gharakhanian, who happened upon it while walking through downtown. He thinks projects like “Natural Plasticity” may lead people to rethink their use of disposable plastic.\u003c/p>\n\u003cp>“I think it'll make people more conscious of it, because it seems all too common to just see like a bottle on the ground. And to sort of have that like in such a magnified and large form, I think it might make people consider that,” Gharakhanian said.\u003c/p>\n\u003cp>Gharakhanian said he didn’t realize at first that the objects are meant to draw attention to how much of this plastic ends up in the oceans. That’s why the artists say they need to be present with the art, to help make that connection and suggest ways to reduce the use of disposable plastic.\u003c/p>\n\u003caside class=\"pullquote alignright\">'We’re not saying that they’re islands of plastic, we’re saying the entire ocean has become a plastic soup.'\u003c/aside>\n\u003cp>“I’m sorry guys, recycling doesn’t work, because we're producing way more than we can ever recycle, and we're exporting our recyclables,” Cruder said. “Other countries don't really know what to do with it. So, it’s refusing, it's getting to the point of saying no, I'm not going to use disposable plastic in my life and if we as consumers shift that, then I think those who make things that we buy will shift as well. So, it’s about shifting perspective.”\u003c/p>\n\u003cp>The use of inflatable plastic sculptures comes with its own headaches. Strong winds require the use of sandbags to hold the bottle and cup in place. Visitors tend to poke and prod the sculptures, requiring the artists to politely ask them to back away. And on a sunny afternoon, the heat demands the artists re-inflate the works using a rather loud air pump.\u003c/p>\n\u003cp>The appearance of “Natural Plasticity” in Pershing Square was made possible through funding from \u003ca href=\"http://doartfoundation.org/\">Do Art Foundation\u003c/a>, RVCC, \u003ca href=\"http://www.sharkallies.com/\">Shark Allies\u003c/a> and support by the City of LA Department of Recreation and Parks. After the sculptures reach the Pacific Ocean, the artists want to keep it moving. Their next stops could include Yosemite, Sequoia & Kings Canyon and other national parks fighting the onslaught of plastic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can see “Natural Plasticity” on display in Los Angeles at Griffith Park on Saturday, April 30, and Elysian Park on Sunday, May 1st.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/04/TDL20160422.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>April 28: \u003c/strong> People have been comparing Page Burkum and Jack Torrey’s of the\u003ca href=\"http://www.thecactusblossoms.com/index.html\" target=\"_blank\" rel=\"noopener\"> Cactus Blossoms\u003c/a> to the \u003ca href=\"https://en.wikipedia.org/wiki/The_Everly_Brothers\" target=\"_blank\" rel=\"noopener\">Everly Brothers\u003c/a>, because despite the different last names, they really are two brothers singing in close harmony. But there’s also a little Bob Wills and Buddy Holly in their look and inspiration. (Though not sure where you find cactus blossoms in Minnesota, Burkum and Torrey’s home state.)\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Cactus Blossoms - Stoplight Kisses (Official Music Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/0kWEfeRjS7E?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>\u003cbr>\nAnyway, the lyrics are weird and smart. On “Clown Collector” they sing “History repeats all the time. It’s going to make you laugh when the clown starts crying.” It’s a great double bill. They opening for the throwback sound Pokey LaFarge at \u003ca href=\"http://thefillmore.com/\" target=\"_blank\" rel=\"noopener\">The Fillmore\u003c/a>. Details \u003ca href=\"http://thefillmore.com/event/34717699110/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=enLUXU4N7pE\u003c/p>\n\u003cp>\u003cstrong>Continuing through Sept. 25:\u003c/strong> The \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> is doing something better than any other Bay Area museum, looking at cultural and historical aspects of marijuana use in American society. This is a timely exhibit as Californians get ready to vote this fall on a \u003ca href=\"http://ww2.kqed.org/news/2016/03/28/what-could-change-if-recreational-pot-is-legalized-in-california\" target=\"_blank\" rel=\"noopener\">measure to legalize pot for adult use in the state\u003c/a>. At this exhibit, you can sample the scent of different strains of cannabis, tell the truth about your own pot use in the Cannabis Confessional, and\u003cbr>\nwatch 30 years worth of PSAs about marijuana (scary). Details \u003ca href=\"http://museumca.org/exhibit/altered-state-marijuana-california\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ekabpUoNLew\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 22 & 23:\u003c/strong> The \u003ca href=\"http://www.calbach.org/\" target=\"_blank\" rel=\"noopener\">California Bach Society \u003c/a>is performing some gorgeous choral music this weekend. Artistic Director Paul Flight is leading the society’s 30 singers in three pieces: the double-choir motet \u003cem>Singet dem Herrn\u003c/em> (\u003cem>Sing a new song to the Lord\u003c/em>), \u003cem>Der Geist hilft unser Schwachheit auf \u003c/em>(\u003cem>The Spirit Gives Aid to our Weakness\u003c/em>), and \u003cem>Jesu meine Freude\u003c/em> (\u003cem>Jesus my Joy\u003c/em>). And you don’t have to be Lutheran to love these beautiful songs of praise. Details \u003ca href=\"http://www.calbach.org/season.html#fourthConcert\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, about the performances in San Francisco, Palo Alto, and Berkeley. \u003ca href=\"http://www.calbach.org/season.html#fourthConcert\" target=\"_blank\" rel=\"noopener\"> \u003c/a>\u003c/p>\n\u003cp>https://vimeo.com/159298737\u003c/p>\n\u003cp>\u003cstrong>April 22 – May 1:\u003c/strong> You’ll have lots of chances to kick up your heels in the next eight days during \u003ca href=\"http://bayareandw.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Dance week.\u003c/a> The festival starts Friday at 12noon at Union Square, where anyone can join the flash mob dancing to the Beatles “Twist and Shout.” (But you’ll fit in better if you follow the training video from \u003ca href=\"http://www.rhythmandmotion.com/\" target=\"_blank\" rel=\"noopener\">Rhythm and Motion\u003cb> \u003c/b>\u003c/a> dance instructor Dudley Flores\u003cstrong> \u003c/strong>above.) Then there are about 400 other dance events, many of them free, listed \u003ca href=\"http://bayareandw.org/events/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003cstrong>. \u003c/strong>And we’re highlighting just a few:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZdvOesczMzU\u003c/p>\n\u003cp>\u003cstrong>Through April 30:\u003c/strong> The great modern dance maestro \u003ca href=\"https://linesballet.org/performances/spring-season/\" target=\"_blank\" rel=\"noopener\">Alonzo King collaborates with jazz greats Charles Lloyd and Jason Moran on a world premiere at YBCA\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6Co08dOKovM\u003c/p>\n\u003cp>\u003cstrong>April 24\u003c/strong>: sjDANCEco presents its \u003ca href=\"http://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">14th annual festival at Santana Row Park, \u003c/a>with nearly 70 dance groups slated to perform-10-5pm and it’s free.\u003c/p>\n\u003cp>\u003cstrong>April 22\u003c/strong>: \u003ca href=\"https://calperformances.org/?gclid=CILQqJTUoMwCFc-Ffgodl2EDaA&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>presents \u003ca href=\"https://calperformances.org/performances/2015-16/citizen-dance/citizen-dance.php\" target=\"_blank\" rel=\"noopener\">Citizen Dance,\u003c/a> with members of UC Berkeley’s dance community in free outdoor performances near Zellerbach hall Friday evening at 5pm.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OlSGg9KT5Bs\u003c/p>\n\u003cp>\u003cstrong>April 23\u003c/strong>: And AXIS Dance, the amazing Oakland ensemble with a mission to change the face of dance and disability offers the Bay Area premiere of \u003cem>To Go Again\u003c/em>, a new work by choreographer Joe Goode. AXIS does amazing things with wheelchairs. \u003ca href=\"http://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">That’s Saturday at Bing Hall at Stanford.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qffy6uHkcTU\u003c/p>\n\u003cp>\u003cstrong>April 26\u003c/strong>: The Canadian band Sloan is celebrating 25 years of crisp, smart power-pop. On this tour, they’re playing every song from their 1996 classic \u003cem>One Chord to Another\u003c/em>, then another set of newer material. Sloan is kind of the socialist commune of rockers, with each band member sharing songwriting and management duties. And yet they’re still together. Details for their\u003ca href=\"http://www.rickshawstop.com/event/1103181-evening-sloan-one-chord-san-francisco/\" target=\"_blank\" rel=\"noopener\"> Rickshaw Stop performance are\u003c/a>\u003ca href=\"http://www.rickshawstop.com/event/1103181-evening-sloan-one-chord-san-francisco/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>\u003ca href=\"http://www.rickshawstop.com/event/1103181-evening-sloan-one-chord-san-francisco/\" target=\"_blank\" rel=\"noopener\">.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>April 28: \u003c/strong> People have been comparing Page Burkum and Jack Torrey’s of the\u003ca href=\"http://www.thecactusblossoms.com/index.html\" target=\"_blank\" rel=\"noopener\"> Cactus Blossoms\u003c/a> to the \u003ca href=\"https://en.wikipedia.org/wiki/The_Everly_Brothers\" target=\"_blank\" rel=\"noopener\">Everly Brothers\u003c/a>, because despite the different last names, they really are two brothers singing in close harmony. But there’s also a little Bob Wills and Buddy Holly in their look and inspiration. (Though not sure where you find cactus blossoms in Minnesota, Burkum and Torrey’s home state.)\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Cactus Blossoms - Stoplight Kisses (Official Music Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/0kWEfeRjS7E?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>\u003cbr>\nAnyway, the lyrics are weird and smart. On “Clown Collector” they sing “History repeats all the time. It’s going to make you laugh when the clown starts crying.” It’s a great double bill. They opening for the throwback sound Pokey LaFarge at \u003ca href=\"http://thefillmore.com/\" target=\"_blank\" rel=\"noopener\">The Fillmore\u003c/a>. Details \u003ca href=\"http://thefillmore.com/event/34717699110/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/enLUXU4N7pE'\n title='//www.youtube.com/embed/enLUXU4N7pE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through Sept. 25:\u003c/strong> The \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> is doing something better than any other Bay Area museum, looking at cultural and historical aspects of marijuana use in American society. This is a timely exhibit as Californians get ready to vote this fall on a \u003ca href=\"http://ww2.kqed.org/news/2016/03/28/what-could-change-if-recreational-pot-is-legalized-in-california\" target=\"_blank\" rel=\"noopener\">measure to legalize pot for adult use in the state\u003c/a>. At this exhibit, you can sample the scent of different strains of cannabis, tell the truth about your own pot use in the Cannabis Confessional, and\u003cbr>\nwatch 30 years worth of PSAs about marijuana (scary). Details \u003ca href=\"http://museumca.org/exhibit/altered-state-marijuana-california\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ekabpUoNLew'\n title='//www.youtube.com/embed/ekabpUoNLew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 22 & 23:\u003c/strong> The \u003ca href=\"http://www.calbach.org/\" target=\"_blank\" rel=\"noopener\">California Bach Society \u003c/a>is performing some gorgeous choral music this weekend. Artistic Director Paul Flight is leading the society’s 30 singers in three pieces: the double-choir motet \u003cem>Singet dem Herrn\u003c/em> (\u003cem>Sing a new song to the Lord\u003c/em>), \u003cem>Der Geist hilft unser Schwachheit auf \u003c/em>(\u003cem>The Spirit Gives Aid to our Weakness\u003c/em>), and \u003cem>Jesu meine Freude\u003c/em> (\u003cem>Jesus my Joy\u003c/em>). And you don’t have to be Lutheran to love these beautiful songs of praise. Details \u003ca href=\"http://www.calbach.org/season.html#fourthConcert\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, about the performances in San Francisco, Palo Alto, and Berkeley. \u003ca href=\"http://www.calbach.org/season.html#fourthConcert\" target=\"_blank\" rel=\"noopener\"> \u003c/a>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>April 22 – May 1:\u003c/strong> You’ll have lots of chances to kick up your heels in the next eight days during \u003ca href=\"http://bayareandw.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Dance week.\u003c/a> The festival starts Friday at 12noon at Union Square, where anyone can join the flash mob dancing to the Beatles “Twist and Shout.” (But you’ll fit in better if you follow the training video from \u003ca href=\"http://www.rhythmandmotion.com/\" target=\"_blank\" rel=\"noopener\">Rhythm and Motion\u003cb> \u003c/b>\u003c/a> dance instructor Dudley Flores\u003cstrong> \u003c/strong>above.) Then there are about 400 other dance events, many of them free, listed \u003ca href=\"http://bayareandw.org/events/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003cstrong>. \u003c/strong>And we’re highlighting just a few:\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/ZdvOesczMzU'\n title='//www.youtube.com/embed/ZdvOesczMzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Through April 30:\u003c/strong> The great modern dance maestro \u003ca href=\"https://linesballet.org/performances/spring-season/\" target=\"_blank\" rel=\"noopener\">Alonzo King collaborates with jazz greats Charles Lloyd and Jason Moran on a world premiere at YBCA\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6Co08dOKovM'\n title='//www.youtube.com/embed/6Co08dOKovM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 24\u003c/strong>: sjDANCEco presents its \u003ca href=\"http://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">14th annual festival at Santana Row Park, \u003c/a>with nearly 70 dance groups slated to perform-10-5pm and it’s free.\u003c/p>\n\u003cp>\u003cstrong>April 22\u003c/strong>: \u003ca href=\"https://calperformances.org/?gclid=CILQqJTUoMwCFc-Ffgodl2EDaA&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>presents \u003ca href=\"https://calperformances.org/performances/2015-16/citizen-dance/citizen-dance.php\" target=\"_blank\" rel=\"noopener\">Citizen Dance,\u003c/a> with members of UC Berkeley’s dance community in free outdoor performances near Zellerbach hall Friday evening at 5pm.\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/OlSGg9KT5Bs'\n title='//www.youtube.com/embed/OlSGg9KT5Bs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 23\u003c/strong>: And AXIS Dance, the amazing Oakland ensemble with a mission to change the face of dance and disability offers the Bay Area premiere of \u003cem>To Go Again\u003c/em>, a new work by choreographer Joe Goode. AXIS does amazing things with wheelchairs. \u003ca href=\"http://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">That’s Saturday at Bing Hall at Stanford.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Qffy6uHkcTU'\n title='//www.youtube.com/embed/Qffy6uHkcTU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 26\u003c/strong>: The Canadian band Sloan is celebrating 25 years of crisp, smart power-pop. On this tour, they’re playing every song from their 1996 classic \u003cem>One Chord to Another\u003c/em>, then another set of newer material. Sloan is kind of the socialist commune of rockers, with each band member sharing songwriting and management duties. And yet they’re still together. Details for their\u003ca href=\"http://www.rickshawstop.com/event/1103181-evening-sloan-one-chord-san-francisco/\" target=\"_blank\" rel=\"noopener\"> Rickshaw Stop performance are\u003c/a>\u003ca href=\"http://www.rickshawstop.com/event/1103181-evening-sloan-one-chord-san-francisco/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>\u003ca href=\"http://www.rickshawstop.com/event/1103181-evening-sloan-one-chord-san-francisco/\" target=\"_blank\" rel=\"noopener\">.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In case you've been off the internet and haven't turned on the TV or radio for a solid eight hours, we have some bad news for you: Prince has died.\u003c/p>\n\u003cp>If your immediate reaction to this is to burrow under the covers moaning \"This is what it sounds like when doves cry,\" well, we can't blame you. But, to be honest, that is probably not what our close personal friend Prince would have wanted us to do. He would have wanted to us to dance. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/every-animated-gif-of-prince-youll-ever-need/\" target=\"_blank\">get animated\u003c/a>. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/lets-go-crazy-prince-and-the-subversive-power-of-party-music/\" target=\"_blank\">go crazy\u003c/a>.\u003c/p>\n\u003cp>Here are some opportunities to do just that. We'll update this list as we hear about more.\u003c/p>\n\u003ch4>Thursday, April 21:\u003c/h4>\n\u003cp>\u003cstrong>San Francisco City Hall\u003c/strong> will be \u003ca href=\"https://www.facebook.com/events/244554419266138/\" target=\"_blank\">going purple at 8 pm\u003c/a>, thanks to a lightning-quick social media campaign apparently kicked off by FunCheapSF.\u003c/p>\n\u003cp>\u003cstrong>Also at 8 pm: \u003ca href=\"http://hoodline.com/events/prince-memorial-flashdance-free-outdoor-dance-party\" target=\"_blank\">Prince memorial flash mob\u003c/a>\u003c/strong> at the Ferry Building.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sweater Funk\u003c/strong> and other DJs will be \u003ca href=\"https://www.facebook.com/events/248024905547554/\" target=\"_blank\">spinning Prince favorites at the Make-Out Room. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>BFF.fm DJs\u003c/strong> will be holding their own with an \u003ca href=\"https://www.facebook.com/events/745189385584326/\" target=\"_blank\">Emergency Prince Tribute tonight at Pops. \u003c/a>\u003c/p>\n\u003ch4>Friday, April 22:\u003c/h4>\n\u003cp>\u003cstrong>\u003cem>Purple Rain\u003c/em>\u003c/strong>, in all its majesty, shall be screened at the \u003ca href=\"https://www.facebook.com/events/137330066669225/\" target=\"_blank\">Roxie Theater at 11:55 pm. \u003c/a>\u003c/p>\n\u003cp>Art space\u003cstrong> Southern Exposure\u003c/strong> will kick off its \u003ca href=\"https://www.soex.org/projects-exhibitions/over-wall\" target=\"_blank\">new exhibition\u003c/a> with a \u003ca href=\"https://www.facebook.com/events/972130089530796/\" target=\"_blank\">Prince dance party\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Church of 8 Wheels\u003c/strong> will host two nights (Friday and Saturday) of \u003ca href=\"https://www.facebook.com/events/1585366411774342/\" target=\"_blank\">Prince-themed roller disco\u003c/a>.\u003c/p>\n\u003ch4>Saturday, April 23:\u003c/h4>\n\u003cp>Oakland's \u003cstrong>Heart and Dagger Saloon\u003c/strong> will be showing \u003cem>Purple Rain\u003c/em> on repeat and \u003ca href=\"https://www.facebook.com/events/509317125920472/\" target=\"_blank\">spinning Prince tunes all night long\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Club BNB\u003c/strong> will be hosting a \u003ca href=\"https://www.facebook.com/events/474053742793568/\" target=\"_blank\">Prince Farewell Dance Party\u003c/a>.\u003c/p>\n\u003cp>R&B station \u003cstrong>KLBX 102.9 FM\u003c/strong> is throwing a \u003ca href=\"http://www.kblx.com/blogs/kblxs-prince-tribute-day-party\" target=\"_blank\">Prince Tribute Day Party\u003c/a> at Liege Spirits Lounge in Oakland. (The first 102 people who show up in purple get a free Prince mix CD.)\u003c/p>\n\u003ch4>Sunday, April 24:\u003c/h4>\n\u003cp>\u003cstrong>Disco Cabana\u003c/strong>'s \u003ca href=\"https://www.facebook.com/events/218598768514659/\" target=\"_blank\">daytime Prince tribute party\u003c/a> was apparently planned weeks ago?!\u003c/p>\n\u003ch4>Wednesday, April 27:\u003c/h4>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/1072684689459060/\" target=\"_blank\">Prince: A Celebration\u003c/a> \u003c/strong>at the \u003cstrong>Elbo Room,\u003c/strong> with DJs Chaki, Cory Sklar, Jeremy Wheat, and more. Proceeds from the $5 door charge will go to benefit the San Francisco AIDS Foundation.\u003c/p>\n\u003ch4>Thursday, April 28:\u003c/h4>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1015 Folsom\u003c/strong> hosts a \u003ca href=\"https://www.facebook.com/events/1091102237628009/\" target=\"_blank\">dance night tribute party\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Get out there, and get funky. It's what the Purple One would have wanted. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In case you've been off the internet and haven't turned on the TV or radio for a solid eight hours, we have some bad news for you: Prince has died.\u003c/p>\n\u003cp>If your immediate reaction to this is to burrow under the covers moaning \"This is what it sounds like when doves cry,\" well, we can't blame you. But, to be honest, that is probably not what our close personal friend Prince would have wanted us to do. He would have wanted to us to dance. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/every-animated-gif-of-prince-youll-ever-need/\" target=\"_blank\">get animated\u003c/a>. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/lets-go-crazy-prince-and-the-subversive-power-of-party-music/\" target=\"_blank\">go crazy\u003c/a>.\u003c/p>\n\u003cp>Here are some opportunities to do just that. We'll update this list as we hear about more.\u003c/p>\n\u003ch4>Thursday, April 21:\u003c/h4>\n\u003cp>\u003cstrong>San Francisco City Hall\u003c/strong> will be \u003ca href=\"https://www.facebook.com/events/244554419266138/\" target=\"_blank\">going purple at 8 pm\u003c/a>, thanks to a lightning-quick social media campaign apparently kicked off by FunCheapSF.\u003c/p>\n\u003cp>\u003cstrong>Also at 8 pm: \u003ca href=\"http://hoodline.com/events/prince-memorial-flashdance-free-outdoor-dance-party\" target=\"_blank\">Prince memorial flash mob\u003c/a>\u003c/strong> at the Ferry Building.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sweater Funk\u003c/strong> and other DJs will be \u003ca href=\"https://www.facebook.com/events/248024905547554/\" target=\"_blank\">spinning Prince favorites at the Make-Out Room. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>BFF.fm DJs\u003c/strong> will be holding their own with an \u003ca href=\"https://www.facebook.com/events/745189385584326/\" target=\"_blank\">Emergency Prince Tribute tonight at Pops. \u003c/a>\u003c/p>\n\u003ch4>Friday, April 22:\u003c/h4>\n\u003cp>\u003cstrong>\u003cem>Purple Rain\u003c/em>\u003c/strong>, in all its majesty, shall be screened at the \u003ca href=\"https://www.facebook.com/events/137330066669225/\" target=\"_blank\">Roxie Theater at 11:55 pm. \u003c/a>\u003c/p>\n\u003cp>Art space\u003cstrong> Southern Exposure\u003c/strong> will kick off its \u003ca href=\"https://www.soex.org/projects-exhibitions/over-wall\" target=\"_blank\">new exhibition\u003c/a> with a \u003ca href=\"https://www.facebook.com/events/972130089530796/\" target=\"_blank\">Prince dance party\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Church of 8 Wheels\u003c/strong> will host two nights (Friday and Saturday) of \u003ca href=\"https://www.facebook.com/events/1585366411774342/\" target=\"_blank\">Prince-themed roller disco\u003c/a>.\u003c/p>\n\u003ch4>Saturday, April 23:\u003c/h4>\n\u003cp>Oakland's \u003cstrong>Heart and Dagger Saloon\u003c/strong> will be showing \u003cem>Purple Rain\u003c/em> on repeat and \u003ca href=\"https://www.facebook.com/events/509317125920472/\" target=\"_blank\">spinning Prince tunes all night long\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Club BNB\u003c/strong> will be hosting a \u003ca href=\"https://www.facebook.com/events/474053742793568/\" target=\"_blank\">Prince Farewell Dance Party\u003c/a>.\u003c/p>\n\u003cp>R&B station \u003cstrong>KLBX 102.9 FM\u003c/strong> is throwing a \u003ca href=\"http://www.kblx.com/blogs/kblxs-prince-tribute-day-party\" target=\"_blank\">Prince Tribute Day Party\u003c/a> at Liege Spirits Lounge in Oakland. (The first 102 people who show up in purple get a free Prince mix CD.)\u003c/p>\n\u003ch4>Sunday, April 24:\u003c/h4>\n\u003cp>\u003cstrong>Disco Cabana\u003c/strong>'s \u003ca href=\"https://www.facebook.com/events/218598768514659/\" target=\"_blank\">daytime Prince tribute party\u003c/a> was apparently planned weeks ago?!\u003c/p>\n\u003ch4>Wednesday, April 27:\u003c/h4>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/1072684689459060/\" target=\"_blank\">Prince: A Celebration\u003c/a> \u003c/strong>at the \u003cstrong>Elbo Room,\u003c/strong> with DJs Chaki, Cory Sklar, Jeremy Wheat, and more. Proceeds from the $5 door charge will go to benefit the San Francisco AIDS Foundation.\u003c/p>\n\u003ch4>Thursday, April 28:\u003c/h4>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1015 Folsom\u003c/strong> hosts a \u003ca href=\"https://www.facebook.com/events/1091102237628009/\" target=\"_blank\">dance night tribute party\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"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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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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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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}
},
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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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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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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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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"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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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
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