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"content": "\u003cp>CHANHASSEN, Minn. (AP) — Pop superstar Prince, widely acclaimed as one of the most inventive and influential musicians of his era with hits including “Little Red Corvette,” ”Let’s Go Crazy” and “When Doves Cry,” was found dead at his home on Thursday in suburban Minneapolis, according to his publicist. He was 57.\u003c/p>\n\u003cp>His publicist, Yvette Noel-Schure, told The Associated Press that the music icon died at his home in Chanhassen. No details were immediately released.\u003c/p>\n\u003cp>The singer, songwriter, arranger and instrumentalist broke through in the late 1970s with the hits “Why You Wanna Treat Me So Bad?” and “I Wanna Be Your Lover,” and soared over the following decade with such albums as “1999” and “Purple Rain.” The title song from “1999” includes one of the most widely quoted refrains of popular culture: “Tonight I’m gonna party like it’s 1999.”\u003c/p>\n\u003cfigure id=\"attachment_11371761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_..jpg\" alt=\"Prince recently toured solo on his 'Piano and a Microphone' tour.\" width=\"800\" height=\"450\" class=\"size-full wp-image-11371761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_..jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_.-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_.-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince recently toured solo on his ‘Piano and a Microphone’ tour. \u003ccite>(Photo courtesy Prince management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Minneapolis native, born Prince Rogers Nelson, stood just 5 feet, 2 inches tall, and seemed to summon the most original and compelling sounds at will, whether playing guitar in a flamboyant style that openly drew upon Jimi Hendrix, switching his vocals from a nasally scream to an erotic falsetto or turning out album after album of stunningly original material. Among his other notable releases: “Sign O’ the Times,” ”Graffiti Bridge” and “The Black Album.”\u003c/p>\n\u003cp>He was also fiercely protective of his independence, battling his record company over control of his material and even his name. Prince once wrote “slave” on his face in protest of not owning his work and famously battled and then departed his label, Warner Bros., before returning a few years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What’s happening now is the position that I’ve always wanted to be in,” Prince told the AP in 2014. “I was just trying to get here.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6SFNW5F8K9Y\u003c/p>\n\u003cp>In 2004, Prince was inducted into the Rock and Roll Hall of Fame, which hailed him as a musical and social trailblazer.\u003c/p>\n\u003cp>“He rewrote the rulebook, forging a synthesis of black funk and white rock that served as a blueprint for cutting-edge music in the Eighties,” reads the Hall’s dedication. “Prince made dance music that rocked and rock music that had a bristling, funky backbone. From the beginning, Prince and his music were androgynous, sly, sexy and provocative.”\u003c/p>\n\u003cp>Rarely lacking in confidence, Price effortlessly absorbed the music of others and made it sound like Prince, whether the James Brown guitar riff on “Kiss” or the Beatle-esque, psychedelic pop of “Raspberry Beret.”\u003c/p>\n\u003cp>He also proved a source of hits for others, from Sinead O’Connor’s “Nothing Compares 2 U” to Cyndi Lauper’s “When You Were Mine.” He also wrote “Manic Monday” for the Bangles\u003c/p>\n\u003cp>Prince had been touring and recording right up until his death, releasing four albums in the last 18 months, including two on the Tidal streaming service last year. He performed in Atlanta last week as part of his “Piano and a Microphone” tour, a stripped down show that has featured a mix of his hits like “Purple Rain” or “Little Red Corvette” and some B-sides from his extensive library.\u003c/p>\n\u003cp>Prince debuted the intimate format at his Paisley Park studios in January, treating fans to a performance that was personal and was both playful and emotional at times.\u003c/p>\n\u003cfigure id=\"attachment_10959927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Prince.jpg\" alt=\"The cover of Prince's "Let's Go Crazy" single, which was played in the background of the video under dispute. (Photo: Paisley Park)\" width=\"800\" height=\"450\" class=\"size-full wp-image-10959927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Prince’s “Let’s Go Crazy” single.\u003c/figcaption>\u003c/figure>\n\u003cp>The musician had seemed to be shedding his reclusive reputation. He hosted several late-night jam sessions where he serenaded Madonna, celebrated the Minnesota Lynx’s WNBA championship and showcased his latest protege, singer Judith Hill.\u003c/p>\n\u003cp>Ever surprising, he announced on stage in New York City last month that he was writing his memoir. “The Beautiful Ones” was expected to be released in the fall of 2017 by publishing house Spiegel & Grau. The publishing house has not yet commented on status of book, but a press release about the memoir says: “Prince will take readers on an unconventional and poetic journey through his life and creative work.” It says the book will include stories about Prince’s music and “the family that shaped him and the people, places, and ideas that fired his creative imagination.”\u003c/p>\n\u003cp>A small group of fans quickly gathered in the rain Thursday outside his music studio, Paisley Park, where Prince’s gold records are on the walls and the purple motorcycle he rode in his 1984 breakout movie, “Purple Rain,” is on display. The white building surrounded by a fence is in Chanhassen, about 20 miles southwest of Minneapolis.\u003c/p>\n\u003cp>Steven Scott, 32, of Eden Prairie, said he was at Paisley Park last Saturday for Prince’s dance party. He called Prince “a beautiful person” whose message was that people should love one another.\u003c/p>\n\u003cp>“He brought people together for the right reasons,” Scott said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Note: This story is being updated. Check back as details unfold.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>CHANHASSEN, Minn. (AP) — Pop superstar Prince, widely acclaimed as one of the most inventive and influential musicians of his era with hits including “Little Red Corvette,” ”Let’s Go Crazy” and “When Doves Cry,” was found dead at his home on Thursday in suburban Minneapolis, according to his publicist. He was 57.\u003c/p>\n\u003cp>His publicist, Yvette Noel-Schure, told The Associated Press that the music icon died at his home in Chanhassen. No details were immediately released.\u003c/p>\n\u003cp>The singer, songwriter, arranger and instrumentalist broke through in the late 1970s with the hits “Why You Wanna Treat Me So Bad?” and “I Wanna Be Your Lover,” and soared over the following decade with such albums as “1999” and “Purple Rain.” The title song from “1999” includes one of the most widely quoted refrains of popular culture: “Tonight I’m gonna party like it’s 1999.”\u003c/p>\n\u003cfigure id=\"attachment_11371761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_..jpg\" alt=\"Prince recently toured solo on his 'Piano and a Microphone' tour.\" width=\"800\" height=\"450\" class=\"size-full wp-image-11371761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_..jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_.-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_.-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince recently toured solo on his ‘Piano and a Microphone’ tour. \u003ccite>(Photo courtesy Prince management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Minneapolis native, born Prince Rogers Nelson, stood just 5 feet, 2 inches tall, and seemed to summon the most original and compelling sounds at will, whether playing guitar in a flamboyant style that openly drew upon Jimi Hendrix, switching his vocals from a nasally scream to an erotic falsetto or turning out album after album of stunningly original material. Among his other notable releases: “Sign O’ the Times,” ”Graffiti Bridge” and “The Black Album.”\u003c/p>\n\u003cp>He was also fiercely protective of his independence, battling his record company over control of his material and even his name. Prince once wrote “slave” on his face in protest of not owning his work and famously battled and then departed his label, Warner Bros., before returning a few years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What’s happening now is the position that I’ve always wanted to be in,” Prince told the AP in 2014. “I was just trying to get here.”\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/6SFNW5F8K9Y'\n title='//www.youtube.com/embed/6SFNW5F8K9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2004, Prince was inducted into the Rock and Roll Hall of Fame, which hailed him as a musical and social trailblazer.\u003c/p>\n\u003cp>“He rewrote the rulebook, forging a synthesis of black funk and white rock that served as a blueprint for cutting-edge music in the Eighties,” reads the Hall’s dedication. “Prince made dance music that rocked and rock music that had a bristling, funky backbone. From the beginning, Prince and his music were androgynous, sly, sexy and provocative.”\u003c/p>\n\u003cp>Rarely lacking in confidence, Price effortlessly absorbed the music of others and made it sound like Prince, whether the James Brown guitar riff on “Kiss” or the Beatle-esque, psychedelic pop of “Raspberry Beret.”\u003c/p>\n\u003cp>He also proved a source of hits for others, from Sinead O’Connor’s “Nothing Compares 2 U” to Cyndi Lauper’s “When You Were Mine.” He also wrote “Manic Monday” for the Bangles\u003c/p>\n\u003cp>Prince had been touring and recording right up until his death, releasing four albums in the last 18 months, including two on the Tidal streaming service last year. He performed in Atlanta last week as part of his “Piano and a Microphone” tour, a stripped down show that has featured a mix of his hits like “Purple Rain” or “Little Red Corvette” and some B-sides from his extensive library.\u003c/p>\n\u003cp>Prince debuted the intimate format at his Paisley Park studios in January, treating fans to a performance that was personal and was both playful and emotional at times.\u003c/p>\n\u003cfigure id=\"attachment_10959927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Prince.jpg\" alt=\"The cover of Prince's "Let's Go Crazy" single, which was played in the background of the video under dispute. (Photo: Paisley Park)\" width=\"800\" height=\"450\" class=\"size-full wp-image-10959927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Prince’s “Let’s Go Crazy” single.\u003c/figcaption>\u003c/figure>\n\u003cp>The musician had seemed to be shedding his reclusive reputation. He hosted several late-night jam sessions where he serenaded Madonna, celebrated the Minnesota Lynx’s WNBA championship and showcased his latest protege, singer Judith Hill.\u003c/p>\n\u003cp>Ever surprising, he announced on stage in New York City last month that he was writing his memoir. “The Beautiful Ones” was expected to be released in the fall of 2017 by publishing house Spiegel & Grau. The publishing house has not yet commented on status of book, but a press release about the memoir says: “Prince will take readers on an unconventional and poetic journey through his life and creative work.” It says the book will include stories about Prince’s music and “the family that shaped him and the people, places, and ideas that fired his creative imagination.”\u003c/p>\n\u003cp>A small group of fans quickly gathered in the rain Thursday outside his music studio, Paisley Park, where Prince’s gold records are on the walls and the purple motorcycle he rode in his 1984 breakout movie, “Purple Rain,” is on display. The white building surrounded by a fence is in Chanhassen, about 20 miles southwest of Minneapolis.\u003c/p>\n\u003cp>Steven Scott, 32, of Eden Prairie, said he was at Paisley Park last Saturday for Prince’s dance party. He called Prince “a beautiful person” whose message was that people should love one another.\u003c/p>\n\u003cp>“He brought people together for the right reasons,” Scott said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Note: This story is being updated. Check back as details unfold.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "south-indian-arts-scene-booms-in-silicon-valley",
"title": "South Indian Arts Scene Booms in Silicon Valley",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment noopener wp-att-11316580\">\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>Silicon Valley has drawn hundreds of thousands of South Asians to the Bay Area in recent years. This influx has led to a massive boom in Indian arts offerings locally, especially music and dance — and most especially South Indian music and dance.\u003c/p>\n\u003cp>“If you look through the pages of our magazine, you will see pages and pages of events that are happening,” says Vandana Kumar, publisher of San Jose-based \u003cem>\u003ca href=\"https://www.indiacurrents.com/\" target=\"_blank\" rel=\"noopener\">India Currents\u003c/a>\u003c/em>, an online and print publication which puts out a comprehensive calendar of All Things Indian. “This is just for the month of April, and I don’t, in fact, have everything listed.”\u003c/p>\n\u003cp>The listings include music, dance, book readings, lectures and other cultural happenings — even non-Indian productions that include Indian talent, like Cirque du Soleil shows. “As long as they can make an Indian connection, they can get featured in our magazine,” Kumar says.\u003c/p>\n\u003cp>\u003cem>India Currents\u003c/em> has more than 190,000 readers nationwide, 70,000 of them in the Bay Area. 30 years ago, when she started the magazine, Kumar says concerts often happened in private living rooms. That’s changed, she says, thanks to Silicon Valley. “The tech boom that happened brought a whole lot of people,” Kumar says. “These were people with jobs, with disposable income, willing to pay for tickets.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/260217900″ 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>That’s proved a demographic windfall for organizations like \u003ca href=\"http://www.southindiafinearts.org/\" target=\"_blank\" rel=\"noopener\">South India Fine Arts \u003c/a>(SIFA). For the last 37 years, the Cupertino-based non-profit has produced a steady stream of concerts celebrating local talent, as well as headliners from India. “The music is thriving at both ends of the globe,” says SIFA President Anu Suresh.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>South Indian traditions\u003c/strong>\u003c/p>\n\u003cp>South Indian music is quite distinct from the Hindustani, or Northern style of music Ravi Shankar popularized with Western audiences in the late 1950s, boosted by his superstar student, George Harrison of The Beatles. While both Indian traditions feature \u003cem>ragas\u003c/em> (scales) and \u003cem>talas\u003c/em> (rhythmic patterns), they employ different instruments and stylistic approaches.\u003c/p>\n\u003cp>\u003cem>Feel like you need a little primer on Indian music? At TEDxMumbai, Dhanashree Pandit-Rai delivered a fun demonstration of some of the elements of Indian classical music.\u003c/em>\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=ZXnV5HzS7nA]\u003c/p>\n\u003cp>Swelling audiences have forced SIFA to start booking for bigger halls for the more popular acts — as well as compete with younger groups doing the same thing. Other nearby presenters include \u003ca href=\"http://kalalayausa.com\" target=\"_blank\" rel=\"noopener\">Kalalaya \u003c/a>in Fremont, \u003ca href=\"https://sites.google.com/site/shreerangaramanujafinearts/\" target=\"_blank\" rel=\"noopener\">Sri Ranga Ramanuja Maha Desikan Fine Arts\u003c/a> (aka SR Fine Arts) in San Jose, and \u003cspan id=\"sites-page-title\" dir=\"ltr\">\u003ca href=\"http://www.sankritilaya.org/\" target=\"_blank\" rel=\"noopener\">SanKritiLaya \u003c/a>in Cupertino\u003c/span>.\u003c/p>\n\u003cp>SIFA board member Meera Chari is magnanimous about the growing number of players on the scene. “Competition is always healthy, and keeps us on our toes, Chari says. “We have no objection to that.” In the same spirit, Suresh adds, “We also try not to overlap the concerts so we can go to each others.”\u003c/p>\n\u003cp>\u003cstrong>Indian migration to Silicon Valley\u003c/strong>\u003c/p>\n\u003cp>Is Carnatic music the next big crossover hit after yoga and Bollywood dance? If so, it’s likely to happen here in the Bay Area. Take a look at the numbers:\u003c/p>\n\u003cfigure id=\"attachment_11511812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11511812\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-800x600.jpg\" alt=\"According to the US Census, more than 350,000 Indians moved to California in the last 15 years – many of them South Indians – most of them to Santa Clara and Alameda Counties.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">According to the US Census, more than 350,000 Indians moved to California in the last 15 years – many of them South Indians – most of them to Santa Clara and Alameda Counties. \u003ccite>(Photo: Courtesy of AAPI Data)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://karthick.com/\" target=\"_blank\" rel=\"noopener\">Karthick Ramakrishnan\u003c/a>, Associate Dean of UC Riverside’s School of Public Policy, says the population boom began during the DotCom boom around Y2K, when many programmers from South Asia arrived in the region. “Many of those temporary immigrants ended up staying and applying for green cards,” Ramakrishnan says.\u003c/p>\n\u003cp>As Silicon Valley grew, more Indians came, and as the tech industry’s geographic footprint expanded, they began to settle all over the San Francisco Bay Area, as well as in Southern California. (See graphic.) Even so, the South Bay remains the demographic center of South Asian culture.\u003c/p>\n\u003cp>[contextly_sidebar id=”s171ftoFSpRs0FqlJ7xHJpaERp6aPEWt”]Anu Suresh says the Bay Area has established itself as a respectable satellite to Indian performing arts. It’s become a go-to stop for artists touring internationally. “Today, I think we can proudly say that Bay Area is [the #2] place [outside of India] where all the Indian artists love to come and perform,” Suresh says.\u003c/p>\n\u003cp>The love goes both ways. Packed theaters demonstrate many Indian-Americans want to hear Carnatic music, and they want to their children to learn to play it as well, to connect with their South Indian heritage.\u003c/p>\n\u003cp>\u003cstrong>Home grown talent is easy to find\u003c/strong>\u003c/p>\n\u003cp>Those with demonstrated talent have the opportunity to take their skills to the stage before an enthusiastic crowd. “Performing at SIFA is sort of a graduation of sorts for the kids who have grown up here and studied classical music and had this immersion,” says SIFA board member Meera Chari.\u003c/p>\n\u003cp>On a recent Saturday afternoon, the opening act at the \u003ca href=\"https://cetweb.org/about-us/cet-events/soto-theatre/\" target=\"_blank\" rel=\"noopener\">Soto Theatre\u003c/a> in San Jose was a trio made up of local university students. \u003ca href=\"http://violinvignesh.com/artistprofile/\" target=\"_blank\" rel=\"noopener\">Vignesh Thyagarajan\u003c/a>, on violin, is a sophomore at San Jose State. \u003ca href=\"http://www.brindavani.org/vignesh-venkataraman.html\" target=\"_blank\" rel=\"noopener\">Vignesh Venkataraman\u003c/a>, on mridangam (percussion), is a graduate student at Stanford. So is singer \u003ca href=\"http://subterraneanarthouse.org/past-events/saturday-june-29th-7pm-carnatic-violin-concert-sruti-sarathy/\" target=\"_blank\" rel=\"noopener\">Sruti Sarathy\u003c/a>.\u003c/p>\n\u003cp>“We played together since our very first concerts when we were like, 8 and 10 years old,” Sarathy says. “So we’re very comfortable with each others’ style.”\u003c/p>\n\u003cp>Like her peers, Sarathy has studied classical Indian voice and violin with local masters, as well as teachers in India, via Skype and periodic visits to see her mentors in person. “There are lots of people learning,” Sarathy says. “There are lots of people to practice with, and you just keep getting inspired from watching your peers play and sing. And then we get concerts from India which also keep us motivated.”\u003c/p>\n\u003cfigure id=\"attachment_11511935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11511935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-800x533.jpg\" alt=\"(L to R) Sruti Sarathy, Vignesh Venkataraman and Vignesh Thyagarajan wait in the wings at San Jose's Soto Theatre before heading on stage to perform.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Sruti Sarathy, Vignesh Venkataraman and Vignesh Thyagarajan wait in the wings at San Jose’s Soto Theatre before heading on stage to perform. \u003ccite>(Photo: Courtesy of Prasanna Ranganathan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vandana Kumar of \u003cem>India Currents\u003c/em> says Silicon Valley has provided the technology for a truly trans-Pacific cultural exchange. “People are getting training over Skype or Google Hangouts,” Kumar says. “It’s brought this world so close. Physically, yes, India is 10,000 miles away. But the culture of India is accessible on your phone.”\u003c/p>\n\u003cp>Can young musicians coming up locally hope to make a career of Carnatic music? “In a warm and fuzzy world, that would be a fantastic future,” says Vignesh Venkataraman, who plays mridangam.\u003c/p>\n\u003cp>Venkataraman currently lives at home with his parents in Cupertino. But he’s getting his masters degree at Stanford in computer science and mechanical engineering. “I like to say that it’ll guarantee me financial flexibility to pursue this stuff, the music, on the side,” Venkataraman says.\u003c/p>\n\u003cp>\u003cstrong>This weekend, SIFA features two days of classical music and dance More info \u003ca href=\"http://www.southindiafinearts.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "From Carnatic music and dance to book readings and lectures by Indian authors, there are dozens of cultural offerings happening on the Peninsula every night",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment noopener wp-att-11316580\">\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>Silicon Valley has drawn hundreds of thousands of South Asians to the Bay Area in recent years. This influx has led to a massive boom in Indian arts offerings locally, especially music and dance — and most especially South Indian music and dance.\u003c/p>\n\u003cp>“If you look through the pages of our magazine, you will see pages and pages of events that are happening,” says Vandana Kumar, publisher of San Jose-based \u003cem>\u003ca href=\"https://www.indiacurrents.com/\" target=\"_blank\" rel=\"noopener\">India Currents\u003c/a>\u003c/em>, an online and print publication which puts out a comprehensive calendar of All Things Indian. “This is just for the month of April, and I don’t, in fact, have everything listed.”\u003c/p>\n\u003cp>The listings include music, dance, book readings, lectures and other cultural happenings — even non-Indian productions that include Indian talent, like Cirque du Soleil shows. “As long as they can make an Indian connection, they can get featured in our magazine,” Kumar says.\u003c/p>\n\u003cp>\u003cem>India Currents\u003c/em> has more than 190,000 readers nationwide, 70,000 of them in the Bay Area. 30 years ago, when she started the magazine, Kumar says concerts often happened in private living rooms. That’s changed, she says, thanks to Silicon Valley. “The tech boom that happened brought a whole lot of people,” Kumar says. “These were people with jobs, with disposable income, willing to pay for tickets.”\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/260217900″&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/260217900″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That’s proved a demographic windfall for organizations like \u003ca href=\"http://www.southindiafinearts.org/\" target=\"_blank\" rel=\"noopener\">South India Fine Arts \u003c/a>(SIFA). For the last 37 years, the Cupertino-based non-profit has produced a steady stream of concerts celebrating local talent, as well as headliners from India. “The music is thriving at both ends of the globe,” says SIFA President Anu Suresh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>South Indian traditions\u003c/strong>\u003c/p>\n\u003cp>South Indian music is quite distinct from the Hindustani, or Northern style of music Ravi Shankar popularized with Western audiences in the late 1950s, boosted by his superstar student, George Harrison of The Beatles. While both Indian traditions feature \u003cem>ragas\u003c/em> (scales) and \u003cem>talas\u003c/em> (rhythmic patterns), they employ different instruments and stylistic approaches.\u003c/p>\n\u003cp>\u003cem>Feel like you need a little primer on Indian music? At TEDxMumbai, Dhanashree Pandit-Rai delivered a fun demonstration of some of the elements of Indian classical music.\u003c/em>\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/ZXnV5HzS7nA'\n title='//www.youtube.com/embed/ZXnV5HzS7nA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Swelling audiences have forced SIFA to start booking for bigger halls for the more popular acts — as well as compete with younger groups doing the same thing. Other nearby presenters include \u003ca href=\"http://kalalayausa.com\" target=\"_blank\" rel=\"noopener\">Kalalaya \u003c/a>in Fremont, \u003ca href=\"https://sites.google.com/site/shreerangaramanujafinearts/\" target=\"_blank\" rel=\"noopener\">Sri Ranga Ramanuja Maha Desikan Fine Arts\u003c/a> (aka SR Fine Arts) in San Jose, and \u003cspan id=\"sites-page-title\" dir=\"ltr\">\u003ca href=\"http://www.sankritilaya.org/\" target=\"_blank\" rel=\"noopener\">SanKritiLaya \u003c/a>in Cupertino\u003c/span>.\u003c/p>\n\u003cp>SIFA board member Meera Chari is magnanimous about the growing number of players on the scene. “Competition is always healthy, and keeps us on our toes, Chari says. “We have no objection to that.” In the same spirit, Suresh adds, “We also try not to overlap the concerts so we can go to each others.”\u003c/p>\n\u003cp>\u003cstrong>Indian migration to Silicon Valley\u003c/strong>\u003c/p>\n\u003cp>Is Carnatic music the next big crossover hit after yoga and Bollywood dance? If so, it’s likely to happen here in the Bay Area. Take a look at the numbers:\u003c/p>\n\u003cfigure id=\"attachment_11511812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11511812\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-800x600.jpg\" alt=\"According to the US Census, more than 350,000 Indians moved to California in the last 15 years – many of them South Indians – most of them to Santa Clara and Alameda Counties.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">According to the US Census, more than 350,000 Indians moved to California in the last 15 years – many of them South Indians – most of them to Santa Clara and Alameda Counties. \u003ccite>(Photo: Courtesy of AAPI Data)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://karthick.com/\" target=\"_blank\" rel=\"noopener\">Karthick Ramakrishnan\u003c/a>, Associate Dean of UC Riverside’s School of Public Policy, says the population boom began during the DotCom boom around Y2K, when many programmers from South Asia arrived in the region. “Many of those temporary immigrants ended up staying and applying for green cards,” Ramakrishnan says.\u003c/p>\n\u003cp>As Silicon Valley grew, more Indians came, and as the tech industry’s geographic footprint expanded, they began to settle all over the San Francisco Bay Area, as well as in Southern California. (See graphic.) Even so, the South Bay remains the demographic center of South Asian culture.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>Anu Suresh says the Bay Area has established itself as a respectable satellite to Indian performing arts. It’s become a go-to stop for artists touring internationally. “Today, I think we can proudly say that Bay Area is [the #2] place [outside of India] where all the Indian artists love to come and perform,” Suresh says.\u003c/p>\n\u003cp>The love goes both ways. Packed theaters demonstrate many Indian-Americans want to hear Carnatic music, and they want to their children to learn to play it as well, to connect with their South Indian heritage.\u003c/p>\n\u003cp>\u003cstrong>Home grown talent is easy to find\u003c/strong>\u003c/p>\n\u003cp>Those with demonstrated talent have the opportunity to take their skills to the stage before an enthusiastic crowd. “Performing at SIFA is sort of a graduation of sorts for the kids who have grown up here and studied classical music and had this immersion,” says SIFA board member Meera Chari.\u003c/p>\n\u003cp>On a recent Saturday afternoon, the opening act at the \u003ca href=\"https://cetweb.org/about-us/cet-events/soto-theatre/\" target=\"_blank\" rel=\"noopener\">Soto Theatre\u003c/a> in San Jose was a trio made up of local university students. \u003ca href=\"http://violinvignesh.com/artistprofile/\" target=\"_blank\" rel=\"noopener\">Vignesh Thyagarajan\u003c/a>, on violin, is a sophomore at San Jose State. \u003ca href=\"http://www.brindavani.org/vignesh-venkataraman.html\" target=\"_blank\" rel=\"noopener\">Vignesh Venkataraman\u003c/a>, on mridangam (percussion), is a graduate student at Stanford. So is singer \u003ca href=\"http://subterraneanarthouse.org/past-events/saturday-june-29th-7pm-carnatic-violin-concert-sruti-sarathy/\" target=\"_blank\" rel=\"noopener\">Sruti Sarathy\u003c/a>.\u003c/p>\n\u003cp>“We played together since our very first concerts when we were like, 8 and 10 years old,” Sarathy says. “So we’re very comfortable with each others’ style.”\u003c/p>\n\u003cp>Like her peers, Sarathy has studied classical Indian voice and violin with local masters, as well as teachers in India, via Skype and periodic visits to see her mentors in person. “There are lots of people learning,” Sarathy says. “There are lots of people to practice with, and you just keep getting inspired from watching your peers play and sing. And then we get concerts from India which also keep us motivated.”\u003c/p>\n\u003cfigure id=\"attachment_11511935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11511935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-800x533.jpg\" alt=\"(L to R) Sruti Sarathy, Vignesh Venkataraman and Vignesh Thyagarajan wait in the wings at San Jose's Soto Theatre before heading on stage to perform.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Sruti Sarathy, Vignesh Venkataraman and Vignesh Thyagarajan wait in the wings at San Jose’s Soto Theatre before heading on stage to perform. \u003ccite>(Photo: Courtesy of Prasanna Ranganathan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vandana Kumar of \u003cem>India Currents\u003c/em> says Silicon Valley has provided the technology for a truly trans-Pacific cultural exchange. “People are getting training over Skype or Google Hangouts,” Kumar says. “It’s brought this world so close. Physically, yes, India is 10,000 miles away. But the culture of India is accessible on your phone.”\u003c/p>\n\u003cp>Can young musicians coming up locally hope to make a career of Carnatic music? “In a warm and fuzzy world, that would be a fantastic future,” says Vignesh Venkataraman, who plays mridangam.\u003c/p>\n\u003cp>Venkataraman currently lives at home with his parents in Cupertino. But he’s getting his masters degree at Stanford in computer science and mechanical engineering. “I like to say that it’ll guarantee me financial flexibility to pursue this stuff, the music, on the side,” Venkataraman says.\u003c/p>\n\u003cp>\u003cstrong>This weekend, SIFA features two days of classical music and dance More info \u003ca href=\"http://www.southindiafinearts.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theater\u003c/a> (Berkeley Rep) announced Wednesday, Apr. 20 that it will present a new musical based on the hit 2001 film \u003cem>Monsoon Wedding\u003c/em>, directed by Mira Nair.\u003c/p>\n\u003cp>“I have always envisioned \u003cem>Monsoon Wedding\u003c/em> as a fully fleshed out musical,” said Nair in a statement from Berkeley Rep, one of the region’s major theater companies, based in downtown Berkeley. “And to be working with Berkeley Rep to help tell that story just adds to the excitement. I know the end result will be something terrific.”\u003c/p>\n\u003cp>There have been plans for years to bring \u003cem>Monsoon Wedding\u003c/em> to Broadway as a musical, with open \u003ca href=\"https://www.facebook.com/monsoonweddingcasting/?fref=photo\" target=\"_blank\" rel=\"noopener\">casting calls in Palo Alto, New Jersey, and Houston\u003c/a>. \u003ca href=\"http://www.broadwayworld.com/article/Broadway-Bound-MONSOON-WEDDING-Musical-Gets-Winter-Lab-in-NYC-Choreographer-Bill-T-Jones-Joins-Creative-Team-20151103\" target=\"_blank\" rel=\"noopener\">Broadway World\u003c/a> has reported that choreographer \u003ca href=\"http://www.newyorklivearts.org/company/bill-t-jones.php\" target=\"_blank\" rel=\"noopener\">Bill T. Jones \u003c/a>and music director \u003ca href=\"http://www.playbill.com/person/andy-einhorn-vault-0000005140\" target=\"_blank\" rel=\"noopener\">Andy Einhorn\u003c/a> would be involved with the New York production. But a spokesman for Berkeley Rep says the two Broadway veterans are not involved in the Berkeley production.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BIEJONYNrso\u003c/p>\n\u003cp>The movie and the stage musical track the adventures of an upper middle class Delhi family as it plans an arranged marriage between a daughter and an American man she’s never met. Sabrina Dhawan wrote the screenplay and is working on the Berkeley Rep stage adaptation, with Tony nominated lyricist Susan Birkenhead and Indian composer Vishal Bhardwaj joining the creative team.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show’s producers say the production is scheduled to open in the spring of 2017 at Berkeley Rep.\u003c/p>\n\u003cp>Nair, coincidentally, will receive the \u003ca href=\"http://blog.sffs.org/home/2016/4/mira-nair-between-two-worlds.html\" target=\"_blank\" rel=\"noopener\">Irving M. Levin Directing Award from the San Francisco Film Society at this year’s San Francisco International Film Festival.\u003c/a> The festival is also featuring an afternoon \u003ca href=\"http://www.sffs.org/sfiff59/films/irving-m-levin-directing-award-an-afternoon-with-mira-nair-monsoon-wedding#.Vxf8vvkrLIU\" target=\"_blank\" rel=\"noopener\">conversation with Nair at the Castro Theater on Sunday, Apr. 24\u003c/a> including a screening of \u003cem>Monsoon Wedding\u003c/em>.\u003c/p>\n\u003cp>“Mira Nair is a brilliant filmmaker I have long admired,” Tony Taccone, Berkeley Rep’s artistic director, said in a statement. “\u003cem>Monsoon Wedding\u003c/em> is one of my favorite films and to have the opportunity to bring it to the stage in the form of a musical is really something to be excited about.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sjQjw-UyAX0\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theater\u003c/a> (Berkeley Rep) announced Wednesday, Apr. 20 that it will present a new musical based on the hit 2001 film \u003cem>Monsoon Wedding\u003c/em>, directed by Mira Nair.\u003c/p>\n\u003cp>“I have always envisioned \u003cem>Monsoon Wedding\u003c/em> as a fully fleshed out musical,” said Nair in a statement from Berkeley Rep, one of the region’s major theater companies, based in downtown Berkeley. “And to be working with Berkeley Rep to help tell that story just adds to the excitement. I know the end result will be something terrific.”\u003c/p>\n\u003cp>There have been plans for years to bring \u003cem>Monsoon Wedding\u003c/em> to Broadway as a musical, with open \u003ca href=\"https://www.facebook.com/monsoonweddingcasting/?fref=photo\" target=\"_blank\" rel=\"noopener\">casting calls in Palo Alto, New Jersey, and Houston\u003c/a>. \u003ca href=\"http://www.broadwayworld.com/article/Broadway-Bound-MONSOON-WEDDING-Musical-Gets-Winter-Lab-in-NYC-Choreographer-Bill-T-Jones-Joins-Creative-Team-20151103\" target=\"_blank\" rel=\"noopener\">Broadway World\u003c/a> has reported that choreographer \u003ca href=\"http://www.newyorklivearts.org/company/bill-t-jones.php\" target=\"_blank\" rel=\"noopener\">Bill T. Jones \u003c/a>and music director \u003ca href=\"http://www.playbill.com/person/andy-einhorn-vault-0000005140\" target=\"_blank\" rel=\"noopener\">Andy Einhorn\u003c/a> would be involved with the New York production. But a spokesman for Berkeley Rep says the two Broadway veterans are not involved in the Berkeley production.\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/BIEJONYNrso'\n title='//www.youtube.com/embed/BIEJONYNrso'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie and the stage musical track the adventures of an upper middle class Delhi family as it plans an arranged marriage between a daughter and an American man she’s never met. Sabrina Dhawan wrote the screenplay and is working on the Berkeley Rep stage adaptation, with Tony nominated lyricist Susan Birkenhead and Indian composer Vishal Bhardwaj joining the creative team.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s producers say the production is scheduled to open in the spring of 2017 at Berkeley Rep.\u003c/p>\n\u003cp>Nair, coincidentally, will receive the \u003ca href=\"http://blog.sffs.org/home/2016/4/mira-nair-between-two-worlds.html\" target=\"_blank\" rel=\"noopener\">Irving M. Levin Directing Award from the San Francisco Film Society at this year’s San Francisco International Film Festival.\u003c/a> The festival is also featuring an afternoon \u003ca href=\"http://www.sffs.org/sfiff59/films/irving-m-levin-directing-award-an-afternoon-with-mira-nair-monsoon-wedding#.Vxf8vvkrLIU\" target=\"_blank\" rel=\"noopener\">conversation with Nair at the Castro Theater on Sunday, Apr. 24\u003c/a> including a screening of \u003cem>Monsoon Wedding\u003c/em>.\u003c/p>\n\u003cp>“Mira Nair is a brilliant filmmaker I have long admired,” Tony Taccone, Berkeley Rep’s artistic director, said in a statement. “\u003cem>Monsoon Wedding\u003c/em> is one of my favorite films and to have the opportunity to bring it to the stage in the form of a musical is really something to be excited about.”\u003c/p>\n\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/sjQjw-UyAX0'\n title='//www.youtube.com/embed/sjQjw-UyAX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[contextly_sidebar id=\"YnQfB3tfV1SyRTLzFWQREsegceL8FeWh\"]Last year, \u003ca href=\"http://ww2.kqed.org/pop/2015/04/10/one-of-these-4-women-could-soon-grace-the-20-bill-with-your-help/\" target=\"_blank\">I wrote about Women On 20s\u003c/a>\u003ca href=\"http://www.womenon20s.org/\">,\u003c/a> an organization whose mission is to put a woman’s face on paper currency by 2020, the 100th anniversary of the 19th amendment, which granted women the right to vote. After a public vote that \u003ca href=\"http://ww2.kqed.org/pop/2015/05/12/harriet-tubman-could-replace-andrew-jackson-on-the-20-bill/\" target=\"_blank\">selected Harriet Tubman\u003c/a> as the ideal nominee and a year of petitioning the Treasury Department to make history by better representing history, it looks like it's all really happening!\u003c/p>\n\u003cp>This afternoon, the Treasury is set to announce that slave-freer Harriet Tubman will replace slave-holder Andrew Jackson on the $20 bill. And that's not all: civil right leaders will grace the $5 bill and multiple suffragettes will appear on the back of the $10 bill (Alexander Hamilton was spared because of his newfound popularity, thanks to Broadway and Lin-Manuel Miranda).\u003c/p>\n\u003cp>On top of all the obvious reasons why this news is wonderful, \u003ca href=\"http://www.vox.com/2016/4/20/11469736/harriet-tubman-twenty-why\" target=\"_blank\">an anecdote\u003c/a> from Tubman's life makes the symbolism even more poignant. When her father was on trial for helping slaves escape, Tubman was desperate to raise $20 to free him. She marched into the office of abolitionist Oliver Johnson, declared \"I'm not gwine till I git my twenty dollars,\" and sat and slept there until she got what she came for (before you congratulate the rich white dude, don't; the funds came from ex-slaves who raised money on Harriet's behalf). Not in her wildest dreams did she probably imagine that her face would one day end up gracing the very bill she had to beg and plead for. Go on and bend, arc of the moral universe, bend!\u003c/p>\n\u003cp>\u003cstrong>Update (5:15pm): \u003c/strong>Ugh, we should have sensed that some white nonsense was just around the corner:\u003c/p>\n\u003cp>https://twitter.com/NPR/status/722880185796849672\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/p89Jk.gif\" rel=\"attachment wp-att-22781\">\u003cimg class=\"aligncenter size-full wp-image-22781\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/p89Jk.gif\" alt=\"p89Jk\" width=\"400\" height=\"230\">\u003c/a>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/VozmhcT.gif\" rel=\"attachment wp-att-22783\">\u003cimg class=\"aligncenter size-full wp-image-22783\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/VozmhcT.gif\" alt=\"VozmhcT\" width=\"400\" height=\"229\">\u003c/a>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/anigif_enhanced-buzz-10484-1424304227-18.gif\" rel=\"attachment wp-att-22788\">\u003cimg class=\"aligncenter size-full wp-image-22788\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/anigif_enhanced-buzz-10484-1424304227-18.gif\" alt=\"anigif_enhanced-buzz-10484-1424304227-18\" width=\"400\" height=\"261\">\u003c/a>\u003c/p>\n\n",
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"content": "\u003cp>\u003cspan>Every listicle, quiz and video from BuzzFeed has the same goal: to get noticed. A recent \u003c/span>\u003ca target=\"_blank\" href=\"https://www.youtube.com/watch?v=imY-vSn0b18\" rel=\"noopener\">\u003cspan>video\u003c/span>\u003c/a>\u003cspan>, “27 Questions Black People Have For Black People,” certainly succeeded in that mission.\u003c/span>\u003cbr>\u003cspan>[youtube https://www.youtube.com/watch?v=imY-vSn0b18?version=3&rel=1&fs=1&autohide=2&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=640&h=390]\u003c/span>\u003cbr>\u003cspan>It drew some \u003c/span>\u003ca target=\"_blank\" href=\"http://bossip.com/1302569/lets-answer-all-27-questions-black-people-have-for-black-people-from-that-dumb-a-buzzfeed-video/\" rel=\"noopener\">\u003cspan>angry\u003c/span>\u003c/a>\u003cspan> and \u003c/span>\u003ca target=\"_blank\" href=\"http://verysmartbrothas.com/the-worst-part-of-buzzfeeds-shockingly-self-loathing-27-questions-black-people-have-for-black-people/\" rel=\"noopener\">\u003cspan>harsh\u003c/span>\u003c/a>\u003cspan> reactions in the process, and prompted \u003ca href=\"http://ww2.kqed.org/news/2016/04/20/7-answers-to-buzzfeeds-27-questions-black-people-supposedly-have-for-black-people\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/span>\u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2016/04/20/7-answers-to-buzzfeeds-27-questions-black-people-supposedly-have-for-black-people\" target=\"_blank\" title=\"7 Answers To BuzzFeed’s 27 Questions Black People (Supposedly) Have For Black People\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cem>Story updated Wednesday, Apr. 20: Please scroll to end for update.\u003c/em>\u003c/p>\n\u003cp>Japanese-American opera singer Brian Asawa died Monday at Holy Cross Hospital in Mission Hills, CA after battling a long illness. He was 49.\u003c/p>\n\u003cp>Asawa, a graduate of \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a>’s Merola and Adler training programs who was well known to Bay Area audiences for his roles in productions of Benjamin Britten’s \u003cem>A Midsummer Night’s Dream\u003c/em> and Igor Stravinsky’s \u003cem>The Rake’s Progress\u003c/em> among others, possessed an unusual voice: he was a countertenor — a singer who performs very high in the male vocal range.\u003c/p>\n\u003cp>Brian Asawa joined the Merola program in 1991 and continued on with the company the following year as an Adler Fellow. Both of these opportunities came at a time when few countertenors gained entry into high-profile training programs. (The more usual male voices are tenors, baritones and basses.)\u003c/p>\n\u003cp>In 1992, Asawa gained critical attention for his role with the San Francisco Opera as Oberon, King of the Fairies in \u003cem>A Midsummer Night’s Dream\u003c/em>. He went on to perform various roles at opera houses around the world, including the Metropolitan Opera, the Paris Opera and Covent Garden. “Asawa was an electric performer, his fearless performing style supported by a voice of arresting beauty and expressivity,” were words the classical music magazine \u003cem>Opera News\u003c/em> once used to describe the singer in his prime. Asawa’s final performance on the War Memorial Opera House stage was in the 2000-01 season in Handel’s \u003cem>Semele\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“San Francisco Opera mourns the passing of Brian Asawa, a very talented and highly skilled countertenor,” said San Francisco Opera’s outgoing General Director David Gockley in a statement issued to staff and subsequently obtained by KQED. “He was a remarkable artist who commanded the stage with his beautiful voice and theatrical presence.”\u003c/p>\n\u003cp>Story update: The Merola Opera Program has set up a fund in Asawa’s memory to support the opera stars of the future. The \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Brian Asawa Memorial Fund\u003c/a> will benefit incoming Merola opera program students, especially countertenors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Brian Asawa was in the vanguard of the countertenor resurgence which continues to this day,” said Jean Kellogg, executive director of the Merola program. “He will be greatly missed in the opera world, and by all of us at Merola in particular.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Story updated Wednesday, Apr. 20: Please scroll to end for update.\u003c/em>\u003c/p>\n\u003cp>Japanese-American opera singer Brian Asawa died Monday at Holy Cross Hospital in Mission Hills, CA after battling a long illness. He was 49.\u003c/p>\n\u003cp>Asawa, a graduate of \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a>’s Merola and Adler training programs who was well known to Bay Area audiences for his roles in productions of Benjamin Britten’s \u003cem>A Midsummer Night’s Dream\u003c/em> and Igor Stravinsky’s \u003cem>The Rake’s Progress\u003c/em> among others, possessed an unusual voice: he was a countertenor — a singer who performs very high in the male vocal range.\u003c/p>\n\u003cp>Brian Asawa joined the Merola program in 1991 and continued on with the company the following year as an Adler Fellow. Both of these opportunities came at a time when few countertenors gained entry into high-profile training programs. (The more usual male voices are tenors, baritones and basses.)\u003c/p>\n\u003cp>In 1992, Asawa gained critical attention for his role with the San Francisco Opera as Oberon, King of the Fairies in \u003cem>A Midsummer Night’s Dream\u003c/em>. He went on to perform various roles at opera houses around the world, including the Metropolitan Opera, the Paris Opera and Covent Garden. “Asawa was an electric performer, his fearless performing style supported by a voice of arresting beauty and expressivity,” were words the classical music magazine \u003cem>Opera News\u003c/em> once used to describe the singer in his prime. Asawa’s final performance on the War Memorial Opera House stage was in the 2000-01 season in Handel’s \u003cem>Semele\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Berkeley author \u003ca href=\"http://www.tjstiles.net/\" target=\"_blank\" rel=\"noopener\">T.J. Stiles \u003c/a>won his second Pulitzer Prize for biography this week for his most recent book, \u003ci>Custer’s Trials: A Life on the Frontier of a New America,\u003c/i> about General George Custer, the Civil War veteran who famously met his demise at the battle of the Little Big Horn.\u003c/p>\n\u003cp>“I am utterly flabbergasted by a second Pulitzer Prize,” the author wrote on his \u003ca href=\"https://www.facebook.com/TJStiles.Author/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. “I am ecstatic, and grateful, and cannot thank enough my editor, Jonathan Segal, and the incredible publishing house of Alfred A. Knopf.”\u003c/p>\n\u003cp>Stiles has written two other books besides \u003ci>Custer’s Trials\u003c/i> and his second book, \u003ci>The First Tycoon: The Epic Life of Cornelius Vanderbilt\u003c/i> earned him his first Pulitzer Prize back in 2010 as well as the National Book Award for Nonfiction in 2009. His first book, \u003cem>Jesse James: Last Rebel of the Civil War,\u003c/em> won the Ambassador Book Award and the Peter Seaborg Award for Civil War Scholarship, and was a \u003ci>New York Times\u003c/i> Notable Book of the Year.\u003c/p>\n\u003cp>Born and raised in a small farm town in Minnesota, Stiles moved to Berkeley in 2006 and \u003ca href=\"http://www.tjstiles.net/events.htm\" target=\"_blank\" rel=\"noopener\">married his now wife the following year\u003c/a>. \u003c/p>\n\u003cp>In an interview with the \u003ca href=\"http://www.dailycal.org/2016/04/18/2-daily-californian-alumni-berkeley-resident-win-pulitzer-prizes/\" target=\"_blank\" rel=\"noopener\">Daily Californian\u003c/a>, the UC Berkeley student-run newspaper, Stiles said that it took him six years to research and write the biography. The book concentrates on the contradictions between the man, who struggled with adapting to “the emerging modern world,” and the myth that was created after his death, thanks in part to his loyal wife. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He was an extraordinarily vivid, contradictory personality who documented his inner life with remarkable thoroughness,” Stiles told the Daily Cal. \u003c/p>\n\u003cp>\u003ci>Listen to T.J. Stiles discuss Custer’s life on KQED’s \u003cb>Forum\u003c/b> back in \u003ca href=\"http://www.kqed.org/a/forum/R201512071030\" target=\"_blank\" rel=\"noopener\">December of last year\u003c/a>:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cobject>\u003c/object>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Berkeley author \u003ca href=\"http://www.tjstiles.net/\" target=\"_blank\" rel=\"noopener\">T.J. Stiles \u003c/a>won his second Pulitzer Prize for biography this week for his most recent book, \u003ci>Custer’s Trials: A Life on the Frontier of a New America,\u003c/i> about General George Custer, the Civil War veteran who famously met his demise at the battle of the Little Big Horn.\u003c/p>\n\u003cp>“I am utterly flabbergasted by a second Pulitzer Prize,” the author wrote on his \u003ca href=\"https://www.facebook.com/TJStiles.Author/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. “I am ecstatic, and grateful, and cannot thank enough my editor, Jonathan Segal, and the incredible publishing house of Alfred A. Knopf.”\u003c/p>\n\u003cp>Stiles has written two other books besides \u003ci>Custer’s Trials\u003c/i> and his second book, \u003ci>The First Tycoon: The Epic Life of Cornelius Vanderbilt\u003c/i> earned him his first Pulitzer Prize back in 2010 as well as the National Book Award for Nonfiction in 2009. His first book, \u003cem>Jesse James: Last Rebel of the Civil War,\u003c/em> won the Ambassador Book Award and the Peter Seaborg Award for Civil War Scholarship, and was a \u003ci>New York Times\u003c/i> Notable Book of the Year.\u003c/p>\n\u003cp>Born and raised in a small farm town in Minnesota, Stiles moved to Berkeley in 2006 and \u003ca href=\"http://www.tjstiles.net/events.htm\" target=\"_blank\" rel=\"noopener\">married his now wife the following year\u003c/a>. \u003c/p>\n\u003cp>In an interview with the \u003ca href=\"http://www.dailycal.org/2016/04/18/2-daily-californian-alumni-berkeley-resident-win-pulitzer-prizes/\" target=\"_blank\" rel=\"noopener\">Daily Californian\u003c/a>, the UC Berkeley student-run newspaper, Stiles said that it took him six years to research and write the biography. The book concentrates on the contradictions between the man, who struggled with adapting to “the emerging modern world,” and the myth that was created after his death, thanks in part to his loyal wife. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/259882065″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>10 people gather in a circle for the beginning of an AXIS Dance “\u003ca href=\"http://www.axisdance.org/dance-jams/\" target=\"_blank\" rel=\"noopener\">community dance jam\u003c/a>” — a workshop in an improvised dance form known as “contact improvisation.” \u003ca href=\"http://www.axisdance.org/\" target=\"_blank\" rel=\"noopener\">AXIS Dance \u003c/a>instructor\u003ca href=\"http://www.axisdance.org/sophie\" target=\"_blank\" rel=\"noopener\"> Sophie Stanley\u003c/a> asks the participants to warm up by saying their name and then physically expressing how they feel.\u003c/p>\n\u003cp>Stanley goes first. “Sophie. Squirmy,” Stanley says, and wiggles her body like a dog getting out of the water. “Kirsten. Excited,” says a class participant and hops up and down to show her feelings.\u003c/p>\n\u003cp>It’s easy to find dance classes in the Bay Area if you get around on both legs. This class at AXIS’s studios at the the \u003ca href=\"http://mccatheater.com/\" target=\"_blank\" rel=\"noopener\">Malonga Casquelourd Center \u003c/a>for the Arts in Oakland is one of the few options for people who are disabled.\u003c/p>\n\u003cp>AXIS Dance co-founder Judith Smith is in the circle. Smith grew up in Colorado riding and jumping horses until a car accident cost her the use of her legs. In the early 1980s, she moved to \u003ca href=\"http://www.cilberkeley.org/\" target=\"_blank\" rel=\"noopener\">Berkeley, which was at the time a center for disabled activists\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the first things that happened was I met a woman and I started doing improvisational movement with her,” Smith says. “And it just really changed my life. I gained a lot of strength, balance, coordination, and a kind of confidence I hadn’t had in five years.”\u003c/p>\n\u003cp>That’s when Smith started AXIS Dance, now one of the Bay Area’s top professional dance companies, and one of the few around the world whose performers include both able bodied and disabled dancers working together. (\u003ca href=\"https://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">AXIS Dance’s professional company will present a new piece by Joe Goode on Saturday, Apr. 23 at Bing Hall on the Stanford campus.\u003c/a>) Smith says the community dance jams are a way to share the experience with anyone who wants to move — not just professionals.\u003c/p>\n\u003cfigure id=\"attachment_11508068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508068\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-800x533.jpg\" alt=\"AXIS Dance Company dancers Julie Crothers and Sophie Stanley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AXIS Dance Company dancers Julie Crothers and Sophie Stanley \u003ccite>(Photo: Dino Corti/AXIS Dance Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People said I want to do this, disabled and not,” Smith says. “And we had nowhere to send them, so we had to do it ourselves.”\u003c/p>\n\u003cp>Smith uses a motorized wheelchair to get around. During the jam session she sometimes speeds around the room, her white hair streaming behind her while others in the class mush together and separate in improvised duets and trios. Multi-instrumentalist \u003ca href=\"http://www.laurainserra.com/\" target=\"_blank\" rel=\"noopener\">Laura Inserra \u003c/a>provides an ambient musical background, playing hang pan drum, Chinese mouth organ, and flute. A dancer in a wheelchair grabs someone’s hand and the two spin as though caught in each other’s gravity, smiling and giggling.\u003c/p>\n\u003cfigure id=\"attachment_11508063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508063\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-800x495.jpg\" alt=\"Multi-instrumentalist Laura Inserra provided the score for AXIS Dance's community dance jam\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Multi-instrumentalist Laura Inserra provided the score for AXIS Dance’s community dance jam \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>June Kogut, a participant in the jam who uses a wheelchair, works with LGBT youth in the East Bay by day. Dancing is her hobby. “It’s really fun to be like spun around, or lean on people,” Kogut says “It helps other people out too; they put their weight on my chair.”\u003c/p>\n\u003cp>Kogut says she was depressed when she lost the use of her legs. She thought she’d have to give up dancing until she discovered these AXIS classes. “It’s so beautiful to be able to dance in a way that is really kind to my body,” Kogut says. “Everyone here is so kind. What I just think about it is kindness.”\u003c/p>\n\u003cp>Derrick Williamson also uses a wheelchair. He lives and works in the South Bay, making the drive all the way from Sunnyvale to Oakland in rush hour traffic. “After two hours of what should leave me feeling worn out, I leave this place with more energy and feeling better than ever,” Williamson says.\u003c/p>\n\u003cfigure id=\"attachment_11508190\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508190\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/007-e1461086775102-800x558.jpg\" alt=\"Community Dance Jam at AXIS Dance in Oakland \" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-400x279.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-960x670.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Community Dance Jam at AXIS Dance in Oakland \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the dancers at the jam are actually able bodied, and they’re having at least as good a time as the dancers in wheelchairs. Brett Weinstein, a realtor from Berkeley, seeks out dance classes all over the East Bay a few days a week as a way to work out and have fun. “It generates a lot of smiles internally for me,” Weinstein says. “Obviously, you don’t want to get your feet run over with a wheelchair. But that’s just paying attention.”\u003c/p>\n\u003cp>Stanley says the jams are just about getting people together and seeing what happens. “I think you just open a door and then people will make beautiful things happen on their own,” she says. “People come into this room because they’re looking for something. Some kind of a food for their soul, for their body. And where we meet, those connections. That’s when the magic happens.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The next AXIS Dance Jam happens on Monday, May 23 at Malonga Casquelourd Center for the Arts in Oakland. Find out more \u003ca href=\"http://www.axisdance.org/dance-jams/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\n",
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"excerpt": "Whether you're in a wheelchair or on your feet, a pro or a beginner, AXIS Dance gets everyone moving ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/259882065″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/259882065″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>10 people gather in a circle for the beginning of an AXIS Dance “\u003ca href=\"http://www.axisdance.org/dance-jams/\" target=\"_blank\" rel=\"noopener\">community dance jam\u003c/a>” — a workshop in an improvised dance form known as “contact improvisation.” \u003ca href=\"http://www.axisdance.org/\" target=\"_blank\" rel=\"noopener\">AXIS Dance \u003c/a>instructor\u003ca href=\"http://www.axisdance.org/sophie\" target=\"_blank\" rel=\"noopener\"> Sophie Stanley\u003c/a> asks the participants to warm up by saying their name and then physically expressing how they feel.\u003c/p>\n\u003cp>Stanley goes first. “Sophie. Squirmy,” Stanley says, and wiggles her body like a dog getting out of the water. “Kirsten. Excited,” says a class participant and hops up and down to show her feelings.\u003c/p>\n\u003cp>It’s easy to find dance classes in the Bay Area if you get around on both legs. This class at AXIS’s studios at the the \u003ca href=\"http://mccatheater.com/\" target=\"_blank\" rel=\"noopener\">Malonga Casquelourd Center \u003c/a>for the Arts in Oakland is one of the few options for people who are disabled.\u003c/p>\n\u003cp>AXIS Dance co-founder Judith Smith is in the circle. Smith grew up in Colorado riding and jumping horses until a car accident cost her the use of her legs. In the early 1980s, she moved to \u003ca href=\"http://www.cilberkeley.org/\" target=\"_blank\" rel=\"noopener\">Berkeley, which was at the time a center for disabled activists\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the first things that happened was I met a woman and I started doing improvisational movement with her,” Smith says. “And it just really changed my life. I gained a lot of strength, balance, coordination, and a kind of confidence I hadn’t had in five years.”\u003c/p>\n\u003cp>That’s when Smith started AXIS Dance, now one of the Bay Area’s top professional dance companies, and one of the few around the world whose performers include both able bodied and disabled dancers working together. (\u003ca href=\"https://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">AXIS Dance’s professional company will present a new piece by Joe Goode on Saturday, Apr. 23 at Bing Hall on the Stanford campus.\u003c/a>) Smith says the community dance jams are a way to share the experience with anyone who wants to move — not just professionals.\u003c/p>\n\u003cfigure id=\"attachment_11508068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508068\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-800x533.jpg\" alt=\"AXIS Dance Company dancers Julie Crothers and Sophie Stanley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/18_SophieStanley_JulieCrothers_HS2015_cDinoCorti-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AXIS Dance Company dancers Julie Crothers and Sophie Stanley \u003ccite>(Photo: Dino Corti/AXIS Dance Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People said I want to do this, disabled and not,” Smith says. “And we had nowhere to send them, so we had to do it ourselves.”\u003c/p>\n\u003cp>Smith uses a motorized wheelchair to get around. During the jam session she sometimes speeds around the room, her white hair streaming behind her while others in the class mush together and separate in improvised duets and trios. Multi-instrumentalist \u003ca href=\"http://www.laurainserra.com/\" target=\"_blank\" rel=\"noopener\">Laura Inserra \u003c/a>provides an ambient musical background, playing hang pan drum, Chinese mouth organ, and flute. A dancer in a wheelchair grabs someone’s hand and the two spin as though caught in each other’s gravity, smiling and giggling.\u003c/p>\n\u003cfigure id=\"attachment_11508063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508063\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-800x495.jpg\" alt=\"Multi-instrumentalist Laura Inserra provided the score for AXIS Dance's community dance jam\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/FullSizeRender-1-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Multi-instrumentalist Laura Inserra provided the score for AXIS Dance’s community dance jam \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>June Kogut, a participant in the jam who uses a wheelchair, works with LGBT youth in the East Bay by day. Dancing is her hobby. “It’s really fun to be like spun around, or lean on people,” Kogut says “It helps other people out too; they put their weight on my chair.”\u003c/p>\n\u003cp>Kogut says she was depressed when she lost the use of her legs. She thought she’d have to give up dancing until she discovered these AXIS classes. “It’s so beautiful to be able to dance in a way that is really kind to my body,” Kogut says. “Everyone here is so kind. What I just think about it is kindness.”\u003c/p>\n\u003cp>Derrick Williamson also uses a wheelchair. He lives and works in the South Bay, making the drive all the way from Sunnyvale to Oakland in rush hour traffic. “After two hours of what should leave me feeling worn out, I leave this place with more energy and feeling better than ever,” Williamson says.\u003c/p>\n\u003cfigure id=\"attachment_11508190\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508190\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/007-e1461086775102-800x558.jpg\" alt=\"Community Dance Jam at AXIS Dance in Oakland \" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-400x279.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/007-e1461086775102-960x670.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Community Dance Jam at AXIS Dance in Oakland \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the dancers at the jam are actually able bodied, and they’re having at least as good a time as the dancers in wheelchairs. Brett Weinstein, a realtor from Berkeley, seeks out dance classes all over the East Bay a few days a week as a way to work out and have fun. “It generates a lot of smiles internally for me,” Weinstein says. “Obviously, you don’t want to get your feet run over with a wheelchair. But that’s just paying attention.”\u003c/p>\n\u003cp>Stanley says the jams are just about getting people together and seeing what happens. “I think you just open a door and then people will make beautiful things happen on their own,” she says. “People come into this room because they’re looking for something. Some kind of a food for their soul, for their body. And where we meet, those connections. That’s when the magic happens.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The next AXIS Dance Jam happens on Monday, May 23 at Malonga Casquelourd Center for the Arts in Oakland. Find out more \u003ca href=\"http://www.axisdance.org/dance-jams/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Dancers We Lost’ Honors Bay Area Dancers who Died of AIDS",
"headTitle": "‘Dancers We Lost’ Honors Bay Area Dancers who Died of AIDS | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">A new exhibition of photographs housed at the Community Gallery at the \u003ca href=\"http://www.glbthistory.org/museum/dancers-we-lost/\" target=\"_blank\" rel=\"noopener\">GLBT History Museum\u003c/a> in San Francisco’s Castro neighborhood gathers together a series of portraits of Bay Area dancers who died during the height of the HIV/AIDS epidemic in the 1980s and 90s. The images in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.glbthistory.org/museum/dancers-we-lost/\" target=\"_blank\" rel=\"noopener\">Dancers We Lost: Honoring Performers Lost to HIV/AIDS\u003c/a>\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> capture the dancers at the height of their powers. Their physiques are toned and enviable. They strike graceful, impassioned poses – some mid-air — in tights and in costume.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">The photographs, all mounted on black paper, indicate the dancer’s name, his Bay Area dance company, and the years of each performer’s birth and death. Russell Hartley (1926-1983), who also worked as a costumer for the San Francisco Ballet, appears in the Mother Ginger outfit he designed for the first U.S. production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> which was staged in 1944 at the War Memorial Opera House. \u003c/span>\u003cspan style=\"line-height: 1.5\">A necklace hangs down on Alvin Ailey’s bare chest (1931-1989) as his arms arch upward. Charles Ward (1952-1986) leaps to his right, his arms and legs aimed like arrows at a distant bullseye.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until McElhinney started work on this project, these dancers and their contributions to arts in the Bay Area seemed poised to disappear from the history books. “Absence is the word that came to mind when I began to research these performers,” says the show’s curator Glenne McElhinney in her exhibition notes.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508064\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508064\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-800x450.jpg\" alt=\"L to r: Cruz Luna (1938--1988) Photographer Unknown; Courtesy of Luna Family. Tracy Allen Rhoades (1961--1993) Photo by Robert Bryant; Courtesy of Joe Tuohy. Antonio Mendes (1949--1991) Photographer Unknown; Courtesy of Meg Rosenfeld. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to r: Cruz Luna (1938–1988) (Photo: Photographer Unknown/Courtesy of Luna Family.) Tracy Allen Rhoades (1961–1993) (Photo: Robert Bryant/Courtesy of Joe Tuohy.) Antonio Mendes (1949–1991) (Photo: Unknown/Courtesy of Meg Rosenfeld)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The exhibition originated with McElhinney’s research on the legendary, San Francisco-based dancer and choreographer Zack Thompson, who had a dance studio on the second floor of the Black Community Center — housed at 330 Grove Street from 1968 to the mid-1970s — and \u003ca href=\"http://www.sfgate.com/news/article/OBITUARY-Zack-Thompson-2966148.php\" target=\"_blank\" rel=\"noopener\">died of AIDS at the age of 61 in 1996\u003c/a>. “\u003c/span>\u003cspan style=\"font-weight: 400\">People kept telling me, ‘He was crazy; he was wild; he was an amazing dancer,’” \u003c/span>\u003cspan style=\"font-weight: 400\">McElhinney says of Thompson. \u003c/span>\u003cspan style=\"font-weight: 400\">“This came from so many different voices. They would say, ‘We don’t know what happened to him, but he would be a great interview.’” Once she turned her full attention to Thompson, McElhinney fell in love with his story. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Thompson became internationally famous as a black jazz dancer, danced with Katherine Dunham and Josephine Baker, and lived for many years in Toronto, Paris and Amsterdam before returning to the Bay Area, where he had grown up. Although McElhinney knew little about dance before starting the project, the roll call of dancers who died too soon quickly took hold of her imagination. “I started researching his contemporaries so I could interview them and I found they were all dead,” McElhinney says. “Then I researched their contemporaries and their dance colleagues and they were all dead.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508066\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Boatwright-800x450.jpg\" alt=\"Christopher Boatwright (1954--1997) Photo by Marty Sohl; Courtesy of Museum of Performance + Design \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Boatwright (1954–1997) (Photo: Marty Sohl/Courtesy of Museum of Performance + Design)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">McElhinney also contacted many of the dancers’ families who had saved years of ephemera. She has manila envelopes stuffed with old photographs, playbills and programs relating to performers featured in the exhibition. Over the next few years, the trove of photographs, scrapbooks, personal papers, biography files and items will go to the \u003ca href=\"http://www.mpdsf.org/index.html\" target=\"_blank\" rel=\"noopener\">Museum of Performance + Design\u003c/a> in San Francisco. And, as a result of her findings, the curator is now in the process of producing a short biographical film about Thompson and his life as a dancer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The memorabilia clearly shows how the performers’ families still take pride in their son’s or brother’s achievements, and underscores how much they were deeply loved — and are still deeply missed.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508067\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Stierle-800x450.jpg\" alt=\"Edward Stierle (1968 -1991) Courtesy of The Joffrey Ballet; Photo by Herbert Migdoll Courtesy of Rosemarie Stierle Worton\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Stierle (1968 -1991) (Photo: Herbert Migdoll/Courtesy of Rosemarie Stierle Worton)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ci>Dancers We Lost: Honoring Performers Lost to HIV/AIDS\u003c/i> is on view at the GLBT History Museum through Sunday, Aug. 7. \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A new exhibition of photographs housed at the Community Gallery at the \u003ca href=\"http://www.glbthistory.org/museum/dancers-we-lost/\" target=\"_blank\" rel=\"noopener\">GLBT History Museum\u003c/a> in San Francisco’s Castro neighborhood gathers together a series of portraits of Bay Area dancers who died during the height of the HIV/AIDS epidemic in the 1980s and 90s. The images in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.glbthistory.org/museum/dancers-we-lost/\" target=\"_blank\" rel=\"noopener\">Dancers We Lost: Honoring Performers Lost to HIV/AIDS\u003c/a>\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> capture the dancers at the height of their powers. Their physiques are toned and enviable. They strike graceful, impassioned poses – some mid-air — in tights and in costume.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">The photographs, all mounted on black paper, indicate the dancer’s name, his Bay Area dance company, and the years of each performer’s birth and death. Russell Hartley (1926-1983), who also worked as a costumer for the San Francisco Ballet, appears in the Mother Ginger outfit he designed for the first U.S. production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> which was staged in 1944 at the War Memorial Opera House. \u003c/span>\u003cspan style=\"line-height: 1.5\">A necklace hangs down on Alvin Ailey’s bare chest (1931-1989) as his arms arch upward. Charles Ward (1952-1986) leaps to his right, his arms and legs aimed like arrows at a distant bullseye.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until McElhinney started work on this project, these dancers and their contributions to arts in the Bay Area seemed poised to disappear from the history books. “Absence is the word that came to mind when I began to research these performers,” says the show’s curator Glenne McElhinney in her exhibition notes.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508064\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508064\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-800x450.jpg\" alt=\"L to r: Cruz Luna (1938--1988) Photographer Unknown; Courtesy of Luna Family. Tracy Allen Rhoades (1961--1993) Photo by Robert Bryant; Courtesy of Joe Tuohy. Antonio Mendes (1949--1991) Photographer Unknown; Courtesy of Meg Rosenfeld. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Luna_Rhoades_Mendes.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to r: Cruz Luna (1938–1988) (Photo: Photographer Unknown/Courtesy of Luna Family.) Tracy Allen Rhoades (1961–1993) (Photo: Robert Bryant/Courtesy of Joe Tuohy.) Antonio Mendes (1949–1991) (Photo: Unknown/Courtesy of Meg Rosenfeld)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The exhibition originated with McElhinney’s research on the legendary, San Francisco-based dancer and choreographer Zack Thompson, who had a dance studio on the second floor of the Black Community Center — housed at 330 Grove Street from 1968 to the mid-1970s — and \u003ca href=\"http://www.sfgate.com/news/article/OBITUARY-Zack-Thompson-2966148.php\" target=\"_blank\" rel=\"noopener\">died of AIDS at the age of 61 in 1996\u003c/a>. “\u003c/span>\u003cspan style=\"font-weight: 400\">People kept telling me, ‘He was crazy; he was wild; he was an amazing dancer,’” \u003c/span>\u003cspan style=\"font-weight: 400\">McElhinney says of Thompson. \u003c/span>\u003cspan style=\"font-weight: 400\">“This came from so many different voices. They would say, ‘We don’t know what happened to him, but he would be a great interview.’” Once she turned her full attention to Thompson, McElhinney fell in love with his story. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Thompson became internationally famous as a black jazz dancer, danced with Katherine Dunham and Josephine Baker, and lived for many years in Toronto, Paris and Amsterdam before returning to the Bay Area, where he had grown up. Although McElhinney knew little about dance before starting the project, the roll call of dancers who died too soon quickly took hold of her imagination. “I started researching his contemporaries so I could interview them and I found they were all dead,” McElhinney says. “Then I researched their contemporaries and their dance colleagues and they were all dead.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508066\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Boatwright-800x450.jpg\" alt=\"Christopher Boatwright (1954--1997) Photo by Marty Sohl; Courtesy of Museum of Performance + Design \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Boatwright.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Boatwright (1954–1997) (Photo: Marty Sohl/Courtesy of Museum of Performance + Design)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">McElhinney also contacted many of the dancers’ families who had saved years of ephemera. She has manila envelopes stuffed with old photographs, playbills and programs relating to performers featured in the exhibition. Over the next few years, the trove of photographs, scrapbooks, personal papers, biography files and items will go to the \u003ca href=\"http://www.mpdsf.org/index.html\" target=\"_blank\" rel=\"noopener\">Museum of Performance + Design\u003c/a> in San Francisco. And, as a result of her findings, the curator is now in the process of producing a short biographical film about Thompson and his life as a dancer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The memorabilia clearly shows how the performers’ families still take pride in their son’s or brother’s achievements, and underscores how much they were deeply loved — and are still deeply missed.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11508067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11508067\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Stierle-800x450.jpg\" alt=\"Edward Stierle (1968 -1991) Courtesy of The Joffrey Ballet; Photo by Herbert Migdoll Courtesy of Rosemarie Stierle Worton\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Stierle.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Stierle (1968 -1991) (Photo: Herbert Migdoll/Courtesy of Rosemarie Stierle Worton)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ci>Dancers We Lost: Honoring Performers Lost to HIV/AIDS\u003c/i> is on view at the GLBT History Museum through Sunday, Aug. 7. \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Doris Roberts, who played the tart-tongued, endlessly meddling mother on \u003cem>Everybody Loves Raymond\u003c/em>, has died, a family spokeswoman said. She was 90.\u003c/p>\n\u003cp>Roberts died overnight in her sleep, spokeswoman Janet Daily said Monday. Daily was told of the death by Roberts’ son, Michael Cannata.\u003c/p>\n\u003cp>The cause of death was not immediately known. Roberts had been healthy and active, Daily said.\u003c/p>\n\u003cp>In the last two weeks, the actress had attended a discussion on Hollywood and gender held by the SAG-AFTRA actors’ guild.\u003c/p>\n\u003cp>Roberts won four Emmy Awards for her portrayal of Marie Barone on CBS’ \u003cem>Everybody Loves Raymond\u003c/em>, and received a total of seven nods as best supporting actress for the show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We loved our mom, the great #DorisRoberts. A wonderful, funny, indelible actress and friend,” Phil Rosenthal, the show’s producer, posted on his Twitter account.\u003c/p>\n\u003cp>The sitcom, which aired from 1996 to 2005, also starred Ray Romano, Brad Garrett and Patricia Heaton. Peter Boyle, who played husband Frank to Roberts’ Marie, died in 2006.\u003c/p>\n\u003cp>Roberts was also known for her role in the TV detective series \u003cem>Remington Steele\u003c/em> and her work on stage and in movies.\u003c/p>\n\u003cp>She was born Nov. 4, 1925, in St. Louis and grew up in New York, Daily said.\u003c/p>\n\u003cp>Besides her son, she is survived by her daughter-in-law, Jane, and three grandchildren, Kelsey, Andrew, and Devon Cannata.\u003c/p>\n\u003cp>—–\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Doris Roberts, who played the tart-tongued, endlessly meddling mother on \u003cem>Everybody Loves Raymond\u003c/em>, has died, a family spokeswoman said. She was 90.\u003c/p>\n\u003cp>Roberts died overnight in her sleep, spokeswoman Janet Daily said Monday. Daily was told of the death by Roberts’ son, Michael Cannata.\u003c/p>\n\u003cp>The cause of death was not immediately known. Roberts had been healthy and active, Daily said.\u003c/p>\n\u003cp>In the last two weeks, the actress had attended a discussion on Hollywood and gender held by the SAG-AFTRA actors’ guild.\u003c/p>\n\u003cp>Roberts won four Emmy Awards for her portrayal of Marie Barone on CBS’ \u003cem>Everybody Loves Raymond\u003c/em>, and received a total of seven nods as best supporting actress for the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>John Oliver turned his righteous outrage to lead poisoning in his \u003ca href=\"https://www.youtube.com/watch?v=GUizvEjR-0U\" target=\"_blank\">weekly show \u003c/a>last night. And, as he tends to do, did it with humor.\u003c/p>\n\u003cp>\"There is no safe level of lead,\" Oliver said. \"It's one of those things so dangerous that you shouldn't even let a little bit inside you, like heroin, or Jeremy Piven.\"\u003c/p>\n\u003cp>He started with the Flint, Michigan water crisis and expanded from there, pointing out that there are 2.1 million homes in the U.S. where children under age six live that also have a lead dust hazard. The Centers for Disease Control and Prevention\u003ca href=\"http://www.cdc.gov/mmwr/preview/mmwrhtml/mm6213a3.htm\" target=\"_blank\">estimates that 535,000 children\u003c/a> under age six have an elevated blood lead level.\u003c/p>\n\u003cp>\"Lead is almost as much a scourge in young children's homes as 'Frozen' merchandise,\" he said, to laughter.\u003c/p>\n\u003cp>Lead is a naturally occurring mineral, but is toxic to humans, especially children, and \u003ca href=\"http://www.who.int/mediacentre/factsheets/fs379/en/\" target=\"_blank\">can lead to irreversible neurodevelopmental \u003c/a>problems, including intellectual disability.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oliver recounted the \"major public health victory\" starting in the U.S. in the 1970s when lead was removed from paint and then from gasoline. Children's blood lead levels plummeted.\u003c/p>\n\u003cp>In 2000, the federal government determined that totally removing lead from all homes, nationwide, would cost $16.6 billion every year for a decade, a very steep price tag.\u003c/p>\n\u003cp>Instead, the federal government funded a lead hazard control program in homes where families where low-income families lived. While $230 million was recommended, the HUD's Lead Hazard Control Program was never funded above $176 million, Oliver said, and has been steadily declining since 2003.\u003c/p>\n\u003cp>This year, the allocation is $110 million, not even as much as Ride Along 2 \u003ca href=\"http://www.the-numbers.com/movie/Ride-Along-2#tab=summary\" target=\"_blank\">has made so far\u003c/a>, a movie the \u003ca href=\"http://nypost.com/2016/01/13/the-worst-part-about-being-a-movie-critic-ride-along-2/\" target=\"_blank\">New York Post said \u003c/a>was \"as funny as lead poisoning.\" (How Oliver put those facts together, I don't know, but it' s true, follow the links.)\u003c/p>\n\u003cp>Oliver turned to all manner of archival news clips during his history lesson, including a 20-year-old clip from \"Sesame Street\" featuring a song about protecting yourself from lead.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It's clearly time to address the problem again,\" Oliver said, and went off to visit \"Sesame Street\" where Elmo, Rosita and even Oscar teamed up to sing a song motivating everyone to conquer the problem.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>John Oliver turned his righteous outrage to lead poisoning in his \u003ca href=\"https://www.youtube.com/watch?v=GUizvEjR-0U\" target=\"_blank\">weekly show \u003c/a>last night. And, as he tends to do, did it with humor.\u003c/p>\n\u003cp>\"There is no safe level of lead,\" Oliver said. \"It's one of those things so dangerous that you shouldn't even let a little bit inside you, like heroin, or Jeremy Piven.\"\u003c/p>\n\u003cp>He started with the Flint, Michigan water crisis and expanded from there, pointing out that there are 2.1 million homes in the U.S. where children under age six live that also have a lead dust hazard. The Centers for Disease Control and Prevention\u003ca href=\"http://www.cdc.gov/mmwr/preview/mmwrhtml/mm6213a3.htm\" target=\"_blank\">estimates that 535,000 children\u003c/a> under age six have an elevated blood lead level.\u003c/p>\n\u003cp>\"Lead is almost as much a scourge in young children's homes as 'Frozen' merchandise,\" he said, to laughter.\u003c/p>\n\u003cp>Lead is a naturally occurring mineral, but is toxic to humans, especially children, and \u003ca href=\"http://www.who.int/mediacentre/factsheets/fs379/en/\" target=\"_blank\">can lead to irreversible neurodevelopmental \u003c/a>problems, including intellectual disability.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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.",
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"mindshift": {
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"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>",
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"order": 12
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"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.",
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"onourwatch": {
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"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?",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
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