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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://cityofepa.org/?nid=446\" target=\"_blank\" rel=\"noopener\">Cooley Landing\u003c/a>, on the shores of East Palo Alto, has been used and abused over the last century. It was even the San Mateo County \u003c/span>\u003cspan style=\"font-weight: 400\">dump\u003c/span>\u003ci>\u003c/i>\u003cspan style=\"font-weight: 400\">for a couple of decades. But a local environmental artist is helping community members feel like the site belongs to them now\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\n\u003cp>On Saturday, Apr. 16, the city of East Palo Alto opens a new community center on this nine acre patch of restored wetlands. Ahead of the big day, a crack cadre of sewing enthusiasts at the East Palo Alto Senior Center has been working on a massive quilt with textile artist \u003ca href=\"http://lindagass.com\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a>.\u003c/p>\n\n\u003cp>This is painstaking, detailed work that’s not so easy on aging eyes. Years ago, the Senior Center ladies used to make clothes, drapes and quilts. “My mom did the same, and she taught me,” says 77-year-old Dorothy Lewis. She has lived in East Palo Alto since 1959, and as a child, saw her fair share of sewing parties. “They did their own designs. It was nice watching them all sit around and dip snuff.”\u003cstrong> \u003c/strong>\u003cstrong>Game to help\u003c/strong>\u003c/p>\n\n\u003cp>As long as Gass is willing to thread the needles, 71-year-old sewing volunteer Carolyn White is more than game to help. “You know what I love about this quilt?” White says. “Everybody can participate in it. To show how we work together as people. It’s a family affair.”\u003c/p>\n\n\u003cfigure class=\"wp-block-image size-medium\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"723\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg\" alt=\"Carolyn White, 71, has lived in East Palo since 1974. \" class=\"wp-image-11485363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg 723w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-400x332.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-1180x979.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-960x797.jpg 960w\" sizes=\"auto, (max-width: 723px) 100vw, 723px\">\n\u003cfigcaption class=\"wp-element-caption\">Carolyn White, 71, has lived in East Palo since 1974. “This is something for us, but our children will say ‘Our grandmother, our mother, all our family, was participating in this quilt.’ So it means a lot.” (Photo: Rachael Myrow/KQED)\u003c/figcaption>\n\u003c/figure>\n\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.lindagass.com/CreativeEcologyArtwork.html\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a> is an environmental artist who has spent much of her career focused on environmental issues. “I’m both an artist and an environmentalist, and I combine the two,” Gass says.\u003c/span>\u003cspan style=\"font-weight: 400\">In recent months, Gass has been a \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/artcenter/news/displaynews.asp?NewsID=3213&TargetID=308\" target=\"_blank\" rel=\"noopener\">resident artist\u003c/a> at Cooley Landing, thanks to the Institute of Museum and Library Services, the Palo Alto Art Center and the Palo Alto Junior Museum & Zoo. She’s spent that time coming up with creative ways to connect locals to a recently restored natural resource on their shoreline. She helped lead art and science \u003ca href=\"https://youtu.be/WCMULhEOYN8?list=PL7mxJElF4vgjFY7pvHObLyIo9UNFsDx9g\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> last summer, and made five quilts, or “stitched paintings,” as Gass calls them, inspired by Cooley Landing. \u003c/span>\u003c/p>\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We looked at mud samples under a microscope,” Gass says of the process. “We did drawings, both looking far in the distance, and then looking very close, and drawing the finely detailed things that we saw. We were interested in the contrast between the man-made items here and the natural environment.”\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-medium\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"605\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg\" alt=\"“Cooley Landing: Life in Water” by Linda Gass (2015).\" class=\"wp-image-11485362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-1180x1170.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-960x952.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut.jpg 1815w\" sizes=\"auto, (max-width: 605px) 100vw, 605px\">\n\u003cfigcaption class=\"wp-element-caption\">‘Cooley Landing: Life in Water’ by Linda Gass (2015). (Photo: Courtesy of Don Tuttle)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>In addition to the quilts and the workshops, Gass martialed an army of helpers to create a \u003ca href=\"http://www.lindagass.com/CooleyLandingLandArt.html\" target=\"_blank\" rel=\"noopener\">temporary land art installation\u003c/a> out of 2,000 blue plastic \u003ca href=\"http://www.surv-kap.com/Survey-Accessories/Survey-Marking-Whiskers\" target=\"_blank\" rel=\"noopener\">survey marking whiskers\u003c/a> (a tool commonly used by surveyers to plot out construction and other survey sites.) Gass and her collaborators used whiskers to indicate the original San Francisco Bay shoreline before landfill came into the picture.\u003c/p>\n\n\u003cp>\u003cstrong>Community participation is key\u003c/strong>\u003c/p>\n\n\u003cp>Gass is keen to involve community members as active participants in her projects. She wanted the last, biggest quilt produced as a result of her residency to be something collectively created.\u003c/p>\n\n\u003cp>The artist had local high school students paint silk squares she pre-populated with designs of local wildlife. “So you’ll see pickle weed and water boatman bugs, leopard sharks, pelicans, mud crabs,” she says.\u003c/p>\n\n\u003cp>Cooley Landing officially opened to the public in 2012. Operated by the city of East Palo Alto, the park was created in partnership with the \u003ca href=\"http://www.openspace.org/our-work/projects/cooley-landing\" target=\"_blank\" rel=\"noopener\">Midpeninsula Regional Open Space District\u003c/a>, which owns the \u003ca href=\"http://www.openspace.org/preserves/ravenswood\">Ravenswood Open Space Preserve\u003c/a> just to the north. To the south lies the \u003ca href=\"http://www.cityofpaloalto.org/depts/csd/parks_and_open_space/preserves_and_open_spaces/the_baylands.asp\" target=\"_blank\" rel=\"noopener\">Palo Alto Baylands Nature Preserve\u003c/a>, known for the highest concentration of the endangered clapper rail in the world.\u003c/p>\n\n\u003cp>On any given day, you’ll see a wide variety of locals putting Cooley Landing to use in different ways. Fisherman cast for the sturgeon and striped bass. Couples meet for lunch at the picnic tables. Teens come here to smoke a joint.\u003c/p>\n\n\u003cp>But Gass feels that there is a difference between superficially appreciating the bucolic landscape and understanding what you’re really looking at. “It really helps to have someone else teach you how to look at nature and be still,” she says.\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-large\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg\" alt=\"Cooley Landing is a pleasant piece of nature just a few minutes drive from the city. There are walking trails and picnic tables. If you\" class=\"wp-image-11485244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-960x720.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\n\u003cfigcaption class=\"wp-element-caption\">Cooley Landing at low tide. (Photo: Rachael Myrow/KQED)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>At the Eastern end of Bay Road, Cooley Landing juts out into the water, a stub of landfill with two prongs. From the air, it looks like the business end of an electric cord. To the north, you can see Dumbarton Bridge; to the south, a string of PG&E power line towers. Small planes take off in endless procession from Palo Alto Airport nearby.\u003c/p>\n\n\u003cp>\u003cstrong>\u003cspan style=\"line-height: 1.5\">No pristine wilderness\u003c/span>\u003c/strong>\u003cspan style=\"line-height: 1.5\">Even after a multi-million dollar clean-up and restoration, the edges of Cooley Landing are covered in chunks of concrete and rebar. Tires poke out of the mud.\u003c/span>\n\u003c/p>\u003cp>Gass had her doubts when she first laid eyes on the place. “Because Cooley Landing had been a landfill and lots of toxic things had been dumped and burned here, I wasn’t sure that the water quality around Cooley Landing would be healthy,” she says.\u003c/p>\n\n\u003cp>This was a brownfield, so toxic the Environmental Protection Agency (EPA) was willing to \u003ca href=\"https://www3.epa.gov/region9/superfund/cooley/\" target=\"_blank\" rel=\"noopener\">pitch in\u003c/a>\u003c/p>\n\n\n\u003cp>to help pay for the clean-up. It took 10 years of work with multiple agencies – not to mention the effort and money required to build the Educational Center.\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-large\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg\" alt=\"There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land\" class=\"wp-image-11485364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut.jpg 1680w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\n\u003cfigcaption class=\"wp-element-caption\">There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land’s past as a port and boat works. The reclaimed brick recalls the time locally manufactured bricks were shipped from here to San Francisco. (Photo: Courtesy of Fog Studio)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>\u003cspan style=\"font-weight: 400\">East Palo Alto’s Mayor Donna Rutherford is proud of the Education Center’s reclaimed Canadian cedar wood walls where the quilts will hang, and the structure’s great big picture windows that look out onto the water. “\u003c/span>I mean, it was a dump,” Rutherford says. “Now it’s a jewel of our community. We’re going to enjoy it for years and years to come.”\n\u003c/p>\u003cp>\u003cspan style=\"font-weight: 400\">That remains to be seen. City Manager Carlos Martinez says East Palo Alto needs $250,000 a year to keep the building open. Martinez isn’t sure at this point where the funds will come from. \u003c/span>“We still have to determine that,” he says.\u003c/p>\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Gass may not solve the cash flow problem. But with her bold quilts inspired by local wildlife, she’s managed to leave an artistic testament to the value of Cooley Landing, for the community it’s meant to serve.\u003c/p>\n\n\n",
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"innerHTML": "\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://cityofepa.org/?nid=446\" target=\"_blank\" rel=\"noopener\">Cooley Landing\u003c/a>, on the shores of East Palo Alto, has been used and abused over the last century. It was even the San Mateo County \u003c/span>\u003cspan style=\"font-weight: 400\">dump\u003c/span>\u003ci>\u003c/i>\u003cspan style=\"font-weight: 400\">for a couple of decades. But a local environmental artist is helping community members feel like the site belongs to them now\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n",
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"\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://cityofepa.org/?nid=446\" target=\"_blank\" rel=\"noopener\">Cooley Landing\u003c/a>, on the shores of East Palo Alto, has been used and abused over the last century. It was even the San Mateo County \u003c/span>\u003cspan style=\"font-weight: 400\">dump\u003c/span>\u003ci>\u003c/i>\u003cspan style=\"font-weight: 400\">for a couple of decades. But a local environmental artist is helping community members feel like the site belongs to them now\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n"
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"innerHTML": "\n\u003cp>On Saturday, Apr. 16, the city of East Palo Alto opens a new community center on this nine acre patch of restored wetlands. Ahead of the big day, a crack cadre of sewing enthusiasts at the East Palo Alto Senior Center has been working on a massive quilt with textile artist \u003ca href=\"http://lindagass.com\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a>.\u003c/p>\n",
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"\n\u003cp>On Saturday, Apr. 16, the city of East Palo Alto opens a new community center on this nine acre patch of restored wetlands. Ahead of the big day, a crack cadre of sewing enthusiasts at the East Palo Alto Senior Center has been working on a massive quilt with textile artist \u003ca href=\"http://lindagass.com\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a>.\u003c/p>\n"
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"innerHTML": "\n\u003cp>This is painstaking, detailed work that’s not so easy on aging eyes. Years ago, the Senior Center ladies used to make clothes, drapes and quilts. “My mom did the same, and she taught me,” says 77-year-old Dorothy Lewis. She has lived in East Palo Alto since 1959, and as a child, saw her fair share of sewing parties. “They did their own designs. It was nice watching them all sit around and dip snuff.”\u003cstrong> \u003c/strong>\u003cstrong>Game to help\u003c/strong>\u003c/p>\n",
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"\n\u003cp>This is painstaking, detailed work that’s not so easy on aging eyes. Years ago, the Senior Center ladies used to make clothes, drapes and quilts. “My mom did the same, and she taught me,” says 77-year-old Dorothy Lewis. She has lived in East Palo Alto since 1959, and as a child, saw her fair share of sewing parties. “They did their own designs. It was nice watching them all sit around and dip snuff.”\u003cstrong> \u003c/strong>\u003cstrong>Game to help\u003c/strong>\u003c/p>\n"
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"innerHTML": "\n\u003cp>As long as Gass is willing to thread the needles, 71-year-old sewing volunteer Carolyn White is more than game to help. “You know what I love about this quilt?” White says. “Everybody can participate in it. To show how we work together as people. It’s a family affair.”\u003c/p>\n",
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"\n\u003cp>As long as Gass is willing to thread the needles, 71-year-old sewing volunteer Carolyn White is more than game to help. “You know what I love about this quilt?” White says. “Everybody can participate in it. To show how we work together as people. It’s a family affair.”\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-medium\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg\" alt=\"Carolyn White, 71, has lived in East Palo since 1974. \" class=\"wp-image-11485363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg 723w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-400x332.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-1180x979.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-960x797.jpg 960w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\n\u003cfigcaption class=\"wp-element-caption\">Carolyn White, 71, has lived in East Palo since 1974. “This is something for us, but our children will say ‘Our grandmother, our mother, all our family, was participating in this quilt.’ So it means a lot.”\u003c/figcaption>\n\u003c/figure>\n",
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"innerHTML": "\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.lindagass.com/CreativeEcologyArtwork.html\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a> is an environmental artist who has spent much of her career focused on environmental issues. “I’m both an artist and an environmentalist, and I combine the two,” Gass says.\u003c/span>\u003cspan style=\"font-weight: 400\">In recent months, Gass has been a \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/artcenter/news/displaynews.asp?NewsID=3213&TargetID=308\" target=\"_blank\" rel=\"noopener\">resident artist\u003c/a> at Cooley Landing, thanks to the Institute of Museum and Library Services, the Palo Alto Art Center and the Palo Alto Junior Museum & Zoo. She’s spent that time coming up with creative ways to connect locals to a recently restored natural resource on their shoreline. She helped lead art and science \u003ca href=\"https://youtu.be/WCMULhEOYN8?list=PL7mxJElF4vgjFY7pvHObLyIo9UNFsDx9g\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> last summer, and made five quilts, or “stitched paintings,” as Gass calls them, inspired by Cooley Landing. \u003c/span>\u003c/p>\n",
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"\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.lindagass.com/CreativeEcologyArtwork.html\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a> is an environmental artist who has spent much of her career focused on environmental issues. “I’m both an artist and an environmentalist, and I combine the two,” Gass says.\u003c/span>\u003cspan style=\"font-weight: 400\">In recent months, Gass has been a \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/artcenter/news/displaynews.asp?NewsID=3213&TargetID=308\" target=\"_blank\" rel=\"noopener\">resident artist\u003c/a> at Cooley Landing, thanks to the Institute of Museum and Library Services, the Palo Alto Art Center and the Palo Alto Junior Museum & Zoo. She’s spent that time coming up with creative ways to connect locals to a recently restored natural resource on their shoreline. She helped lead art and science \u003ca href=\"https://youtu.be/WCMULhEOYN8?list=PL7mxJElF4vgjFY7pvHObLyIo9UNFsDx9g\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> last summer, and made five quilts, or “stitched paintings,” as Gass calls them, inspired by Cooley Landing. \u003c/span>\u003c/p>\n"
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"innerHTML": "\n\u003cp>“We looked at mud samples under a microscope,” Gass says of the process. “We did drawings, both looking far in the distance, and then looking very close, and drawing the finely detailed things that we saw. We were interested in the contrast between the man-made items here and the natural environment.”\u003c/p>\n",
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-1180x1170.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-960x952.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut.jpg 1815w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-medium\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg\" alt=\"“Cooley Landing: Life in Water” by Linda Gass (2015).\" class=\"wp-image-11485362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-1180x1170.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-960x952.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut.jpg 1815w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\n\u003cfigcaption class=\"wp-element-caption\">‘Cooley Landing: Life in Water’ by Linda Gass (2015).\u003c/figcaption>\n\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image aligncenter size-medium\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg\" alt=\"“Cooley Landing: Life in Water” by Linda Gass (2015).\" class=\"wp-image-11485362\" />\n\u003cfigcaption class=\"wp-element-caption\">‘Cooley Landing: Life in Water’ by Linda Gass (2015).\u003c/figcaption>\n\u003c/figure>\n"
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"innerHTML": "\n\u003cp>In addition to the quilts and the workshops, Gass martialed an army of helpers to create a \u003ca href=\"http://www.lindagass.com/CooleyLandingLandArt.html\" target=\"_blank\" rel=\"noopener\">temporary land art installation\u003c/a> out of 2,000 blue plastic \u003ca href=\"http://www.surv-kap.com/Survey-Accessories/Survey-Marking-Whiskers\" target=\"_blank\" rel=\"noopener\">survey marking whiskers\u003c/a> (a tool commonly used by surveyers to plot out construction and other survey sites.) Gass and her collaborators used whiskers to indicate the original San Francisco Bay shoreline before landfill came into the picture.\u003c/p>\n",
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"\n\u003cp>In addition to the quilts and the workshops, Gass martialed an army of helpers to create a \u003ca href=\"http://www.lindagass.com/CooleyLandingLandArt.html\" target=\"_blank\" rel=\"noopener\">temporary land art installation\u003c/a> out of 2,000 blue plastic \u003ca href=\"http://www.surv-kap.com/Survey-Accessories/Survey-Marking-Whiskers\" target=\"_blank\" rel=\"noopener\">survey marking whiskers\u003c/a> (a tool commonly used by surveyers to plot out construction and other survey sites.) Gass and her collaborators used whiskers to indicate the original San Francisco Bay shoreline before landfill came into the picture.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>Community participation is key\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Gass is keen to involve community members as active participants in her projects. She wanted the last, biggest quilt produced as a result of her residency to be something collectively created.\u003c/p>\n",
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"\n\u003cp>Gass is keen to involve community members as active participants in her projects. She wanted the last, biggest quilt produced as a result of her residency to be something collectively created.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The artist had local high school students paint silk squares she pre-populated with designs of local wildlife. “So you’ll see pickle weed and water boatman bugs, leopard sharks, pelicans, mud crabs,” she says.\u003c/p>\n",
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"\n\u003cp>The artist had local high school students paint silk squares she pre-populated with designs of local wildlife. “So you’ll see pickle weed and water boatman bugs, leopard sharks, pelicans, mud crabs,” she says.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Cooley Landing officially opened to the public in 2012. Operated by the city of East Palo Alto, the park was created in partnership with the \u003ca href=\"http://www.openspace.org/our-work/projects/cooley-landing\" target=\"_blank\" rel=\"noopener\">Midpeninsula Regional Open Space District\u003c/a>, which owns the \u003ca href=\"http://www.openspace.org/preserves/ravenswood\">Ravenswood Open Space Preserve\u003c/a> just to the north. To the south lies the \u003ca href=\"http://www.cityofpaloalto.org/depts/csd/parks_and_open_space/preserves_and_open_spaces/the_baylands.asp\" target=\"_blank\" rel=\"noopener\">Palo Alto Baylands Nature Preserve\u003c/a>, known for the highest concentration of the endangered clapper rail in the world.\u003c/p>\n",
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"\n\u003cp>Cooley Landing officially opened to the public in 2012. Operated by the city of East Palo Alto, the park was created in partnership with the \u003ca href=\"http://www.openspace.org/our-work/projects/cooley-landing\" target=\"_blank\" rel=\"noopener\">Midpeninsula Regional Open Space District\u003c/a>, which owns the \u003ca href=\"http://www.openspace.org/preserves/ravenswood\">Ravenswood Open Space Preserve\u003c/a> just to the north. To the south lies the \u003ca href=\"http://www.cityofpaloalto.org/depts/csd/parks_and_open_space/preserves_and_open_spaces/the_baylands.asp\" target=\"_blank\" rel=\"noopener\">Palo Alto Baylands Nature Preserve\u003c/a>, known for the highest concentration of the endangered clapper rail in the world.\u003c/p>\n"
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"innerHTML": "\n\u003cp>On any given day, you’ll see a wide variety of locals putting Cooley Landing to use in different ways. Fisherman cast for the sturgeon and striped bass. Couples meet for lunch at the picnic tables. Teens come here to smoke a joint.\u003c/p>\n",
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"\n\u003cp>On any given day, you’ll see a wide variety of locals putting Cooley Landing to use in different ways. Fisherman cast for the sturgeon and striped bass. Couples meet for lunch at the picnic tables. Teens come here to smoke a joint.\u003c/p>\n"
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"innerHTML": "\n\u003cp>But Gass feels that there is a difference between superficially appreciating the bucolic landscape and understanding what you’re really looking at. “It really helps to have someone else teach you how to look at nature and be still,” she says.\u003c/p>\n",
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"\n\u003cp>But Gass feels that there is a difference between superficially appreciating the bucolic landscape and understanding what you’re really looking at. “It really helps to have someone else teach you how to look at nature and be still,” she says.\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-960x720.jpg 960w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-large\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg\" alt=\"Cooley Landing is a pleasant piece of nature just a few minutes drive from the city. There are walking trails and picnic tables. If you\" class=\"wp-image-11485244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-960x720.jpg 960w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\n\u003cfigcaption class=\"wp-element-caption\">Cooley Landing at low tide.\u003c/figcaption>\n\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image aligncenter size-large\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg\" alt=\"Cooley Landing is a pleasant piece of nature just a few minutes drive from the city. There are walking trails and picnic tables. If you\" class=\"wp-image-11485244\" />\n\u003cfigcaption class=\"wp-element-caption\">Cooley Landing at low tide.\u003c/figcaption>\n\u003c/figure>\n"
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"innerHTML": "\n\u003cp>At the Eastern end of Bay Road, Cooley Landing juts out into the water, a stub of landfill with two prongs. From the air, it looks like the business end of an electric cord. To the north, you can see Dumbarton Bridge; to the south, a string of PG&E power line towers. Small planes take off in endless procession from Palo Alto Airport nearby.\u003c/p>\n",
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"\n\u003cp>At the Eastern end of Bay Road, Cooley Landing juts out into the water, a stub of landfill with two prongs. From the air, it looks like the business end of an electric cord. To the north, you can see Dumbarton Bridge; to the south, a string of PG&E power line towers. Small planes take off in endless procession from Palo Alto Airport nearby.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>\u003cspan style=\"line-height: 1.5\">No pristine wilderness\u003c/span>\u003c/strong>\u003cspan style=\"line-height: 1.5\">Even after a multi-million dollar clean-up and restoration, the edges of Cooley Landing are covered in chunks of concrete and rebar. Tires poke out of the mud.\u003c/span>\u003c/p>\n",
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"\n\u003cp>\u003cstrong>\u003cspan style=\"line-height: 1.5\">No pristine wilderness\u003c/span>\u003c/strong>\u003cspan style=\"line-height: 1.5\">Even after a multi-million dollar clean-up and restoration, the edges of Cooley Landing are covered in chunks of concrete and rebar. Tires poke out of the mud.\u003c/span>",
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"innerHTML": "\n\u003cp>Gass had her doubts when she first laid eyes on the place. “Because Cooley Landing had been a landfill and lots of toxic things had been dumped and burned here, I wasn’t sure that the water quality around Cooley Landing would be healthy,” she says.\u003c/p>\n",
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"\n\u003cp>Gass had her doubts when she first laid eyes on the place. “Because Cooley Landing had been a landfill and lots of toxic things had been dumped and burned here, I wasn’t sure that the water quality around Cooley Landing would be healthy,” she says.\u003c/p>\n"
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"innerHTML": "\n\u003cp>This was a brownfield, so toxic the Environmental Protection Agency (EPA) was willing to \u003ca href=\"https://www3.epa.gov/region9/superfund/cooley/\" target=\"_blank\" rel=\"noopener\">pitch in\u003c/a>\u003c/p>\n",
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"\n\u003cp>This was a brownfield, so toxic the Environmental Protection Agency (EPA) was willing to \u003ca href=\"https://www3.epa.gov/region9/superfund/cooley/\" target=\"_blank\" rel=\"noopener\">pitch in\u003c/a>\u003c/p>\n"
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"innerHTML": "\n\u003cp>to help pay for the clean-up. It took 10 years of work with multiple agencies – not to mention the effort and money required to build the Educational Center.\u003c/p>\n",
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"\n\u003cp>to help pay for the clean-up. It took 10 years of work with multiple agencies – not to mention the effort and money required to build the Educational Center.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-large\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg\" alt=\"There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land\" class=\"wp-image-11485364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut.jpg 1680w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\n\u003cfigcaption class=\"wp-element-caption\">There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land’s past as a port and boat works. The reclaimed brick recalls the time locally manufactured bricks were shipped from here to San Francisco.\u003c/figcaption>\n\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image aligncenter size-large\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg\" alt=\"There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land\" class=\"wp-image-11485364\" />\n\u003cfigcaption class=\"wp-element-caption\">There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land’s past as a port and boat works. The reclaimed brick recalls the time locally manufactured bricks were shipped from here to San Francisco.\u003c/figcaption>\n\u003c/figure>\n"
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"innerHTML": "\n\u003cp>\u003cspan style=\"font-weight: 400\">East Palo Alto’s Mayor Donna Rutherford is proud of the Education Center’s reclaimed Canadian cedar wood walls where the quilts will hang, and the structure’s great big picture windows that look out onto the water. “\u003c/span>I mean, it was a dump,” Rutherford says. “Now it’s a jewel of our community. We’re going to enjoy it for years and years to come.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cspan style=\"font-weight: 400\">East Palo Alto’s Mayor Donna Rutherford is proud of the Education Center’s reclaimed Canadian cedar wood walls where the quilts will hang, and the structure’s great big picture windows that look out onto the water. “\u003c/span>I mean, it was a dump,” Rutherford says. “Now it’s a jewel of our community. We’re going to enjoy it for years and years to come.”",
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"innerHTML": "\n\u003cp>\u003cspan style=\"font-weight: 400\">That remains to be seen. City Manager Carlos Martinez says East Palo Alto needs $250,000 a year to keep the building open. Martinez isn’t sure at this point where the funds will come from. \u003c/span>“We still have to determine that,” he says.\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cspan style=\"font-weight: 400\">That remains to be seen. City Manager Carlos Martinez says East Palo Alto needs $250,000 a year to keep the building open. Martinez isn’t sure at this point where the funds will come from. \u003c/span>“We still have to determine that,” he says.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Gass may not solve the cash flow problem. But with her bold quilts inspired by local wildlife, she’s managed to leave an artistic testament to the value of Cooley Landing, for the community it’s meant to serve.\u003c/p>\n",
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"\n\u003cp>Gass may not solve the cash flow problem. But with her bold quilts inspired by local wildlife, she’s managed to leave an artistic testament to the value of Cooley Landing, for the community it’s meant to serve.\u003c/p>\n"
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"excerpt": "Environmental textile artist Linda Gass has been working with locals to reflect on the beauty and biodiversity of a site that was once a toxic waste dump",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://cityofepa.org/?nid=446\" target=\"_blank\" rel=\"noopener\">Cooley Landing\u003c/a>, on the shores of East Palo Alto, has been used and abused over the last century. It was even the San Mateo County \u003c/span>\u003cspan style=\"font-weight: 400\">dump\u003c/span>\u003ci>\u003c/i>\u003cspan style=\"font-weight: 400\">for a couple of decades. But a local environmental artist is helping community members feel like the site belongs to them now\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\n\u003cp>On Saturday, Apr. 16, the city of East Palo Alto opens a new community center on this nine acre patch of restored wetlands. Ahead of the big day, a crack cadre of sewing enthusiasts at the East Palo Alto Senior Center has been working on a massive quilt with textile artist \u003ca href=\"http://lindagass.com\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a>.\u003c/p>\n\n\u003cp>This is painstaking, detailed work that’s not so easy on aging eyes. Years ago, the Senior Center ladies used to make clothes, drapes and quilts. “My mom did the same, and she taught me,” says 77-year-old Dorothy Lewis. She has lived in East Palo Alto since 1959, and as a child, saw her fair share of sewing parties. “They did their own designs. It was nice watching them all sit around and dip snuff.”\u003cstrong> \u003c/strong>\u003cstrong>Game to help\u003c/strong>\u003c/p>\n\n\u003cp>As long as Gass is willing to thread the needles, 71-year-old sewing volunteer Carolyn White is more than game to help. “You know what I love about this quilt?” White says. “Everybody can participate in it. To show how we work together as people. It’s a family affair.”\u003c/p>\n\n\u003cfigure class=\"wp-block-image size-medium\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"723\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg\" alt=\"Carolyn White, 71, has lived in East Palo since 1974. \" class=\"wp-image-11485363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg 723w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-400x332.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-1180x979.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-960x797.jpg 960w\" sizes=\"auto, (max-width: 723px) 100vw, 723px\">\n\u003cfigcaption class=\"wp-element-caption\">Carolyn White, 71, has lived in East Palo since 1974. “This is something for us, but our children will say ‘Our grandmother, our mother, all our family, was participating in this quilt.’ So it means a lot.” (Photo: Rachael Myrow/KQED)\u003c/figcaption>\n\u003c/figure>\n\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.lindagass.com/CreativeEcologyArtwork.html\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a> is an environmental artist who has spent much of her career focused on environmental issues. “I’m both an artist and an environmentalist, and I combine the two,” Gass says.\u003c/span>\u003cspan style=\"font-weight: 400\">In recent months, Gass has been a \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/artcenter/news/displaynews.asp?NewsID=3213&TargetID=308\" target=\"_blank\" rel=\"noopener\">resident artist\u003c/a> at Cooley Landing, thanks to the Institute of Museum and Library Services, the Palo Alto Art Center and the Palo Alto Junior Museum & Zoo. She’s spent that time coming up with creative ways to connect locals to a recently restored natural resource on their shoreline. She helped lead art and science \u003ca href=\"https://youtu.be/WCMULhEOYN8?list=PL7mxJElF4vgjFY7pvHObLyIo9UNFsDx9g\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> last summer, and made five quilts, or “stitched paintings,” as Gass calls them, inspired by Cooley Landing. \u003c/span>\u003c/p>\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We looked at mud samples under a microscope,” Gass says of the process. “We did drawings, both looking far in the distance, and then looking very close, and drawing the finely detailed things that we saw. We were interested in the contrast between the man-made items here and the natural environment.”\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-medium\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"605\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg\" alt=\"“Cooley Landing: Life in Water” by Linda Gass (2015).\" class=\"wp-image-11485362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-1180x1170.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-960x952.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut.jpg 1815w\" sizes=\"auto, (max-width: 605px) 100vw, 605px\">\n\u003cfigcaption class=\"wp-element-caption\">‘Cooley Landing: Life in Water’ by Linda Gass (2015). (Photo: Courtesy of Don Tuttle)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>In addition to the quilts and the workshops, Gass martialed an army of helpers to create a \u003ca href=\"http://www.lindagass.com/CooleyLandingLandArt.html\" target=\"_blank\" rel=\"noopener\">temporary land art installation\u003c/a> out of 2,000 blue plastic \u003ca href=\"http://www.surv-kap.com/Survey-Accessories/Survey-Marking-Whiskers\" target=\"_blank\" rel=\"noopener\">survey marking whiskers\u003c/a> (a tool commonly used by surveyers to plot out construction and other survey sites.) Gass and her collaborators used whiskers to indicate the original San Francisco Bay shoreline before landfill came into the picture.\u003c/p>\n\n\u003cp>\u003cstrong>Community participation is key\u003c/strong>\u003c/p>\n\n\u003cp>Gass is keen to involve community members as active participants in her projects. She wanted the last, biggest quilt produced as a result of her residency to be something collectively created.\u003c/p>\n\n\u003cp>The artist had local high school students paint silk squares she pre-populated with designs of local wildlife. “So you’ll see pickle weed and water boatman bugs, leopard sharks, pelicans, mud crabs,” she says.\u003c/p>\n\n\u003cp>Cooley Landing officially opened to the public in 2012. Operated by the city of East Palo Alto, the park was created in partnership with the \u003ca href=\"http://www.openspace.org/our-work/projects/cooley-landing\" target=\"_blank\" rel=\"noopener\">Midpeninsula Regional Open Space District\u003c/a>, which owns the \u003ca href=\"http://www.openspace.org/preserves/ravenswood\">Ravenswood Open Space Preserve\u003c/a> just to the north. To the south lies the \u003ca href=\"http://www.cityofpaloalto.org/depts/csd/parks_and_open_space/preserves_and_open_spaces/the_baylands.asp\" target=\"_blank\" rel=\"noopener\">Palo Alto Baylands Nature Preserve\u003c/a>, known for the highest concentration of the endangered clapper rail in the world.\u003c/p>\n\n\u003cp>On any given day, you’ll see a wide variety of locals putting Cooley Landing to use in different ways. Fisherman cast for the sturgeon and striped bass. Couples meet for lunch at the picnic tables. Teens come here to smoke a joint.\u003c/p>\n\n\u003cp>But Gass feels that there is a difference between superficially appreciating the bucolic landscape and understanding what you’re really looking at. “It really helps to have someone else teach you how to look at nature and be still,” she says.\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-large\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg\" alt=\"Cooley Landing is a pleasant piece of nature just a few minutes drive from the city. There are walking trails and picnic tables. If you\" class=\"wp-image-11485244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-960x720.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\n\u003cfigcaption class=\"wp-element-caption\">Cooley Landing at low tide. (Photo: Rachael Myrow/KQED)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>At the Eastern end of Bay Road, Cooley Landing juts out into the water, a stub of landfill with two prongs. From the air, it looks like the business end of an electric cord. To the north, you can see Dumbarton Bridge; to the south, a string of PG&E power line towers. Small planes take off in endless procession from Palo Alto Airport nearby.\u003c/p>\n\n\u003cp>\u003cstrong>\u003cspan style=\"line-height: 1.5\">No pristine wilderness\u003c/span>\u003c/strong>\u003cspan style=\"line-height: 1.5\">Even after a multi-million dollar clean-up and restoration, the edges of Cooley Landing are covered in chunks of concrete and rebar. Tires poke out of the mud.\u003c/span>\n\u003c/p>\u003cp>Gass had her doubts when she first laid eyes on the place. “Because Cooley Landing had been a landfill and lots of toxic things had been dumped and burned here, I wasn’t sure that the water quality around Cooley Landing would be healthy,” she says.\u003c/p>\n\n\u003cp>This was a brownfield, so toxic the Environmental Protection Agency (EPA) was willing to \u003ca href=\"https://www3.epa.gov/region9/superfund/cooley/\" target=\"_blank\" rel=\"noopener\">pitch in\u003c/a>\u003c/p>\n\n\n\u003cp>to help pay for the clean-up. It took 10 years of work with multiple agencies – not to mention the effort and money required to build the Educational Center.\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-large\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg\" alt=\"There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land\" class=\"wp-image-11485364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut.jpg 1680w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\n\u003cfigcaption class=\"wp-element-caption\">There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land’s past as a port and boat works. The reclaimed brick recalls the time locally manufactured bricks were shipped from here to San Francisco. (Photo: Courtesy of Fog Studio)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>\u003cspan style=\"font-weight: 400\">East Palo Alto’s Mayor Donna Rutherford is proud of the Education Center’s reclaimed Canadian cedar wood walls where the quilts will hang, and the structure’s great big picture windows that look out onto the water. “\u003c/span>I mean, it was a dump,” Rutherford says. “Now it’s a jewel of our community. We’re going to enjoy it for years and years to come.”\n\u003c/p>\u003cp>\u003cspan style=\"font-weight: 400\">That remains to be seen. City Manager Carlos Martinez says East Palo Alto needs $250,000 a year to keep the building open. Martinez isn’t sure at this point where the funds will come from. \u003c/span>“We still have to determine that,” he says.\u003c/p>\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gass may not solve the cash flow problem. But with her bold quilts inspired by local wildlife, she’s managed to leave an artistic testament to the value of Cooley Landing, for the community it’s meant to serve.\u003c/p>\n\n\n\u003c/div>\u003c/p>",
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"title": "Jack Hammer, Who Co-Wrote 'Great Balls of Fire,' Dead at 90",
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"content": "\u003cp>Earl Solomon Burroughs, more widely known as the singer “Jack Hammer” and the co-writer of the hit song “Great Balls of Fire,” died this week of heart failure in his hometown of Oakland. He was 90.\u003c/p>\n\u003cp>The news was made public on \u003ca href=\"https://www.facebook.com/Jack-Hammer-293255480689900/\" target=\"_blank\" rel=\"noopener\">his Facebook page\u003c/a>, which Burroughs was posting on until January of this year. His family posted the news:\u003c/p>\n\u003cp>https://www.facebook.com/permalink.php?story_fbid=1275749309107174&id=293255480689900\u003c/p>\n\u003cp>Born in 1925 in Georgia, Burroughs moved to Oakland as a child, where he grew up until he moved to New York in the 1950s. It was in the Big Apple where he started his music career as a master of ceremonies at the Baby Grand Theatre. \u003c/p>\n\u003cp>Burroughs began writing songs around that time, including “Fujiyama Mama,” which later became a hit in Japan for Wanda Jackson, the Queen of Rockabilly. He \u003ca href=\"http://www.rockabilly.nl/references/messages/jack_hammer.htm\" target=\"_blank\" rel=\"noopener\">would write almost 150 songs \u003c/a>throughout his career.\u003c/p>\n\u003cfigure id=\"attachment_11491678\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Kissin-Twist-600x600.jpg\" alt=\"Cover of Burroughs' single "Kissin' Twist"\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11491678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Burroughs’ single “Kissin’ Twist”\u003c/figcaption>\u003c/figure>\n\u003cp>The version of “Great Balls of Fire” that was recorded by Jerry Lee Lewis and is one of the greatest selling singles of all time — it sold a million copies within 10 days — is reportedly not \u003ca href=\"http://www.soul-source.co.uk/articles/soul-artists-sad-news/jack-hammer-rip-r3323/\" target=\"_blank\" rel=\"noopener\">the song that Burroughs wrote\u003c/a>. He showed the song to songwriter Peter Case who liked the title but not the music, so Case asked hit songwriter Otis Blackwell to write a new version but give half of the credit and royalties to Burroughs. Case also included the song in the 1957 movie \u003ci>Jamboree,\u003c/i> which was about a new craze called Rock ‘n’ Roll. The song title was also used for the 1989 biopic about Lewis that starred Dennis Quaid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After recording a Beat Poetry-influenced album in 1960, Burroughs moved to Europe, where he would record a bunch of songs based on Chubby Checker’s “The Twist,” the most popular being “The Kissin’ Twist.” Burroughs would later be dubbed “The Twistin’ King” of Europe. \u003c/p>\n\u003cp>Burroughs would move back to the United States in the ’80s and at one point he reportedly was to play Jimi Hendrix in a biopic about the guitar hero’s life. His health began to fail in 2010 and in 2014, a blog post stated that a lawyer Burroughs hired \u003ca href=\"https://kagedmedia.wordpress.com/2014/04/01/a-tribute-to-jack-hammer-his-family/\" target=\"_blank\" rel=\"noopener\">depleted him of all his income\u003c/a>.\u003c/p>\n\u003cp>A press release from his grandson Lance McGee states that Burroughs will be buried in a private funeral in Oakland. He is survived by children, grandchildren, great-grandchildren and even great-great-grandchildren. \u003c/p>\n\u003cp>\u003ci>Watch Jack Hammer perform with Hammond organ virtuoso Cherry Wainer in 1966. (The gun twirling is worth it alone):\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CmNqww2nDrA\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earl Solomon Burroughs, more widely known as the singer “Jack Hammer” and the co-writer of the hit song “Great Balls of Fire,” died this week of heart failure in his hometown of Oakland. He was 90.\u003c/p>\n\u003cp>The news was made public on \u003ca href=\"https://www.facebook.com/Jack-Hammer-293255480689900/\" target=\"_blank\" rel=\"noopener\">his Facebook page\u003c/a>, which Burroughs was posting on until January of this year. His family posted the news:\u003c/p>\n\u003cp>https://www.facebook.com/permalink.php?story_fbid=1275749309107174&id=293255480689900\u003c/p>\n\u003cp>Born in 1925 in Georgia, Burroughs moved to Oakland as a child, where he grew up until he moved to New York in the 1950s. It was in the Big Apple where he started his music career as a master of ceremonies at the Baby Grand Theatre. \u003c/p>\n\u003cp>Burroughs began writing songs around that time, including “Fujiyama Mama,” which later became a hit in Japan for Wanda Jackson, the Queen of Rockabilly. He \u003ca href=\"http://www.rockabilly.nl/references/messages/jack_hammer.htm\" target=\"_blank\" rel=\"noopener\">would write almost 150 songs \u003c/a>throughout his career.\u003c/p>\n\u003cfigure id=\"attachment_11491678\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Kissin-Twist-600x600.jpg\" alt=\"Cover of Burroughs' single "Kissin' Twist"\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11491678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Burroughs’ single “Kissin’ Twist”\u003c/figcaption>\u003c/figure>\n\u003cp>The version of “Great Balls of Fire” that was recorded by Jerry Lee Lewis and is one of the greatest selling singles of all time — it sold a million copies within 10 days — is reportedly not \u003ca href=\"http://www.soul-source.co.uk/articles/soul-artists-sad-news/jack-hammer-rip-r3323/\" target=\"_blank\" rel=\"noopener\">the song that Burroughs wrote\u003c/a>. He showed the song to songwriter Peter Case who liked the title but not the music, so Case asked hit songwriter Otis Blackwell to write a new version but give half of the credit and royalties to Burroughs. Case also included the song in the 1957 movie \u003ci>Jamboree,\u003c/i> which was about a new craze called Rock ‘n’ Roll. The song title was also used for the 1989 biopic about Lewis that starred Dennis Quaid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After recording a Beat Poetry-influenced album in 1960, Burroughs moved to Europe, where he would record a bunch of songs based on Chubby Checker’s “The Twist,” the most popular being “The Kissin’ Twist.” Burroughs would later be dubbed “The Twistin’ King” of Europe. \u003c/p>\n\u003cp>Burroughs would move back to the United States in the ’80s and at one point he reportedly was to play Jimi Hendrix in a biopic about the guitar hero’s life. His health began to fail in 2010 and in 2014, a blog post stated that a lawyer Burroughs hired \u003ca href=\"https://kagedmedia.wordpress.com/2014/04/01/a-tribute-to-jack-hammer-his-family/\" target=\"_blank\" rel=\"noopener\">depleted him of all his income\u003c/a>.\u003c/p>\n\u003cp>A press release from his grandson Lance McGee states that Burroughs will be buried in a private funeral in Oakland. He is survived by children, grandchildren, great-grandchildren and even great-great-grandchildren. \u003c/p>\n\u003cp>\u003ci>Watch Jack Hammer perform with Hammond organ virtuoso Cherry Wainer in 1966. (The gun twirling is worth it alone):\u003c/i>\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/CmNqww2nDrA'\n title='//www.youtube.com/embed/CmNqww2nDrA'\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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"title": "#Chasing73: Some Fun Warriors GIFs to Post During Game, Life in General",
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"content": "\u003cp>We here on the KQED Arts team aren’t paid to be sports experts, but most of us have been following the Golden State Warriors for the entirety of this season — and we’re just as excited about \u003ca href=\"http://ww2.kqed.org/news/2016/04/13/in-warriors-season-of-records-seventy-three-would-be-the-biggest\" target=\"_blank\" rel=\"noopener\">Wednesday night’s possible record-setting win\u003c/a> as any dedicated Warrior fan.\u003c/p>\n\u003cp>But being that we’re also fans of art, we decided to contribute to the experience of watching the game by creating GIFs featuring some of our favorite players. Feel free to share these during and after the (hopefully) momentous occasion.\u003c/p>\n\u003cp>\u003ci>All GIFs created at \u003ca href=\"http://giphy.com/\" target=\"_blank\" rel=\"noopener\">GIPHY.com \u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Steph Curry\u003c/b>\u003c/p>\n\u003cp>\u003cb>Draymond Green\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Klay Thompson\u003c/b>\u003c/p>\n\u003cp>\u003cb>Andre Iguodala\u003c/b>\u003c/p>\n\u003cp>And as a bonus, here’s the theme song for tonight: “Splash” by by Ron Lennon & J.Wells. (Last year we touted \u003ca href=\"http://ww2.kqed.org/arts/2015/06/16/heres-your-e-40-warriors-anthem-for-the-nba-finals/\" target=\"_blank\" rel=\"noopener\">E-40’s theme for the Dubs\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5BxfvxdmRDc\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We here on the KQED Arts team aren’t paid to be sports experts, but most of us have been following the Golden State Warriors for the entirety of this season — and we’re just as excited about \u003ca href=\"http://ww2.kqed.org/news/2016/04/13/in-warriors-season-of-records-seventy-three-would-be-the-biggest\" target=\"_blank\" rel=\"noopener\">Wednesday night’s possible record-setting win\u003c/a> as any dedicated Warrior fan.\u003c/p>\n\u003cp>But being that we’re also fans of art, we decided to contribute to the experience of watching the game by creating GIFs featuring some of our favorite players. Feel free to share these during and after the (hopefully) momentous occasion.\u003c/p>\n\u003cp>\u003ci>All GIFs created at \u003ca href=\"http://giphy.com/\" target=\"_blank\" rel=\"noopener\">GIPHY.com \u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Steph Curry\u003c/b>\u003c/p>\n\u003cp>\u003cb>Draymond Green\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Klay Thompson\u003c/b>\u003c/p>\n\u003cp>\u003cb>Andre Iguodala\u003c/b>\u003c/p>\n\u003cp>And as a bonus, here’s the theme song for tonight: “Splash” by by Ron Lennon & J.Wells. (Last year we touted \u003ca href=\"http://ww2.kqed.org/arts/2015/06/16/heres-your-e-40-warriors-anthem-for-the-nba-finals/\" target=\"_blank\" rel=\"noopener\">E-40’s theme for the Dubs\u003c/a>).\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/5BxfvxdmRDc'\n title='//www.youtube.com/embed/5BxfvxdmRDc'\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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"title": "Serial's Julie Snyder on Storytelling, the Military and Amateur Sleuths",
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"content": "\u003cp>It’s a poorly kept secret that behind the media’s most influential innovators are almost-hidden partners — whose contributions are just as important as those who receive all the attention. For example, behind Walt Disney was \u003ca href=\"https://en.wikipedia.org/wiki/Ub_Iwerks\" target=\"_blank\" rel=\"noopener\">Ubbe Iwerks\u003c/a>; assisting Steve Jobs in realizing his vision at Apple was \u003ca href=\"https://en.wikipedia.org/wiki/Jonathan_Ive\" target=\"_blank\" rel=\"noopener\">Jonathan Ive;\u003c/a> and helping Sarah Koenig revolutionize podcasting with \u003ci>Serial\u003c/i> is her producer Julie Snyder.\u003c/p>\n\u003cp>[contextly_sidebar id=”rYiYMnePTgXlwk44OCtuY0Z28fkFBePD”]\u003c/p>\n\u003cp>When we spoke with \u003ca href=\"http://ww2.kqed.org/arts/2016/03/07/sarah-koenig-on-fame-reporting-and-the-overwhelming-pace-of-serial/\" target=\"_blank\" rel=\"noopener\">Koenig earlier this year\u003c/a>, she was clear to credit Snyder with having the idea to make \u003ci>Serial\u003c/i> a podcast. In \u003ca href=\"http://www.peabodyawards.com/stories/story/interview-with-serial-co-creators-sarah-koenig-and-julie-snyder\" target=\"_blank\" rel=\"noopener\">other interviews\u003c/a>, Snyder admitted to being the one who first learned about Adnan Syed, who was convicted of killing his ex-girlfriend in 1999 and whose story became the focus of the first season of \u003ci>Serial,\u003c/i> the most \u003ca href=\"https://www.theguardian.com/technology/2014/nov/18/serial-podcast-itunes-apple-downloads-streams\" target=\"_blank\" rel=\"noopener\">popular podcast in the medium’s history\u003c/a>.\u003c/p>\n\u003cp>Talking with Snyder, it’s obvious why she is so important to the podcast. While Koenig makes the decision to create a podcast sound like one guided by the fear of failure — she told us that she liked the idea “\u003ca href=\"http://ww2.kqed.org/arts/2016/03/07/sarah-koenig-on-fame-reporting-and-the-overwhelming-pace-of-serial/\" target=\"_blank\" rel=\"noopener\">because no one will notice if it’s bad\u003c/a>” — Snyder saw the potential for the medium in terms of experimenting with longform storytelling. And now that she’s accomplished so much with the podcast, having won a Peabody on top of creating such a popular show, we decided to call her up to chat about it.\u003c/p>\n\u003cfigure id=\"attachment_11488332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488332\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-800x450.jpg\" alt=\"Julie Snyder and Ira Glass make their pitch to advertisers\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP.jpg 1166w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Snyder and Ira Glass make their pitch to advertisers \u003ccite>(Photo: Mattew Septimus/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sarah credits you with the idea of starting a podcast. What made you want to work in the medium?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First of all, it seemed possible that you could actually get a fair amount of listeners. There was a period of time where the technology was there and people were podcasting, but it was really hard to access podcasts and not that many people were listening to them. But by the time we were starting, it seemed like there was a big enough audience for us in “Podcast Land.”\u003c/p>\n\u003cp>But the main thing that I thought really made it easy was that for a show on public radio, there’s a logistical process. First you have to have a distributor who provides it to public radio stations. Then there is the fact that you need to fit into broadcast schedules, and you need to be weekly — consistently weekly — for a whole year. Those kinds of restrictions on broadcasts meant for us — there was only me and Sarah — that we weren’t going to be able to put on a production quite like that.\u003c/p>\n\u003cp>We didn’t have enough money, we didn’t have a big enough staff, we weren’t going to be able to fulfill the professional needs of broadcast radio. But if we made a podcast where we weren’t going to have to service all that stuff, we could do it with just the two of us and with a slim budget. And if it’s not that good, then we’d just stop. [Laughs]\u003c/p>\n\u003cp>\u003cb>What do you regret about the explosion of \u003ci>Serial’s\u003c/i> popularity?\u003c/b>\u003c/p>\n\u003cp>There are certain things that I wish didn’t happen. I wish people didn’t do the armchair detective stuff: publicly speculating on people committing crimes or their characters, their backgrounds and revealing private information about them. That was sort of unsavory and I wish there was some way we could’ve controlled that. That was really shocking for us and it was disheartening.\u003c/p>\n\u003cp>To an extent, this is the price of when you get this many people involved, but I’m not quite sure we’re supposed to be okay with that. I don’t know, I just thought I saw people behaving irresponsibly.\u003c/p>\n\u003cp>\u003cb>Is that one of the reasons you went away from pursuing another true crime story for the second season of \u003ci>Serial\u003c/i>?\u003c/b>\u003c/p>\n\u003caside class=\"pullquote alignright\">I wish people didn’t do the armchair detective stuff… That was sort of unsavory and I wish there was some way we could’ve controlled that\u003cbr>\n\u003ccite>Julie Snyder, \u003ci>Serial\u003c/i> Producer\u003c/cite>\u003c/aside>\n\u003cp>No. \u003ci>Serial\u003c/i> is all about following interesting stories where we feel like they are going to take us to surprising places and we’re going to usually learn something complicated — something that is a lot more ambiguous and a lot more nuanced then what most people take at face value. That, for us, is the definition of \u003ci>Serial.\u003c/i> We never saw \u003ci>Serial\u003c/i> as true crime; I forgot there even was a true crime genre and neither of us thought of the story that way.\u003c/p>\n\u003cp>There are entire cable networks that are devoted true crime stories and once they hit on their successful format, they will keep going back to it. That isn’t our interest at all.\u003c/p>\n\u003cp>\u003cb>What have you learned about the military from covering \u003ca href=\"https://serialpodcast.org/\" target=\"_blank\" rel=\"noopener\">Bowe Bergdahl’s story\u003c/a>?\u003c/b>\u003c/p>\n\u003cp>The main thing I’ve learned — and it seems obvious but I didn’t understand it until I started working on this story — is that the military, and even the Army and the administration, these huge institutions that are reduced to monoliths, are all being run by people. There is such a diversity of views in the Army and also within the government, and within a platoon. People see things differently and they experience them differently, and that’s what affects their choices. There isn’t this monolithic “The Army thinks this way,” or “The generals know this.” It’s really individualistic and there’s a lot of nuance.\u003c/p>\n\u003cfigure id=\"attachment_11488333\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-800x450.jpg\" alt=\"'Serial' producer Julie Snyder stands to the right of Sarah Koenig (center) as she poses with her Peabody award \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP.jpg 983w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Serial’ producer Julie Snyder stands to the right of Sarah Koenig (center) as she poses with her Peabody award \u003ccite>(Photo: Jemal Countess/Getty Images for Peabody Awards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think it’s because these institutions are so powerful you start to feel like there’s a grand plan and a puppet-mastery going on. And breaking it down in a story like this, where we’re just trying to talk to as many individuals who were affected by this story as possible, it becomes clear that the world of this story is so small and specific. With Bowe Bergdahl, he has such a specific and idiosyncratic way of looking at the world — not at all representative of other people — and yet because he involved himself in this really unique incident, the repercussions of it were huge.\u003c/p>\n\u003cp>I also really loved that in this story, we could move from the small and personal, to the big and global.\u003c/p>\n\u003cp>\u003cb>Yeah, and it’s easy to forget how huge this story is. I sometimes worry that Americans suffer from war coverage fatigue, even though it’s still this important story. You not only demonstrate the importance of what’s going on in Afghanistan, you’ve succeeded in humanizing Bowe; I feel I understand him as a person.\u003c/b>\u003c/p>\n\u003cp>That’s the cool thing about audio and it’s the strength of the medium: you hear people speaking for themselves.\u003c/p>\n\u003cp>\u003cb>What do you hope people do with podcasting as a medium?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I would like people to continue experimenting. It’s a very experimental medium and I don’t think we know are the outer bounds of the form yet. It’s exciting to try different things, especially when they service the story or the format.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a poorly kept secret that behind the media’s most influential innovators are almost-hidden partners — whose contributions are just as important as those who receive all the attention. For example, behind Walt Disney was \u003ca href=\"https://en.wikipedia.org/wiki/Ub_Iwerks\" target=\"_blank\" rel=\"noopener\">Ubbe Iwerks\u003c/a>; assisting Steve Jobs in realizing his vision at Apple was \u003ca href=\"https://en.wikipedia.org/wiki/Jonathan_Ive\" target=\"_blank\" rel=\"noopener\">Jonathan Ive;\u003c/a> and helping Sarah Koenig revolutionize podcasting with \u003ci>Serial\u003c/i> is her producer Julie Snyder.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When we spoke with \u003ca href=\"http://ww2.kqed.org/arts/2016/03/07/sarah-koenig-on-fame-reporting-and-the-overwhelming-pace-of-serial/\" target=\"_blank\" rel=\"noopener\">Koenig earlier this year\u003c/a>, she was clear to credit Snyder with having the idea to make \u003ci>Serial\u003c/i> a podcast. In \u003ca href=\"http://www.peabodyawards.com/stories/story/interview-with-serial-co-creators-sarah-koenig-and-julie-snyder\" target=\"_blank\" rel=\"noopener\">other interviews\u003c/a>, Snyder admitted to being the one who first learned about Adnan Syed, who was convicted of killing his ex-girlfriend in 1999 and whose story became the focus of the first season of \u003ci>Serial,\u003c/i> the most \u003ca href=\"https://www.theguardian.com/technology/2014/nov/18/serial-podcast-itunes-apple-downloads-streams\" target=\"_blank\" rel=\"noopener\">popular podcast in the medium’s history\u003c/a>.\u003c/p>\n\u003cp>Talking with Snyder, it’s obvious why she is so important to the podcast. While Koenig makes the decision to create a podcast sound like one guided by the fear of failure — she told us that she liked the idea “\u003ca href=\"http://ww2.kqed.org/arts/2016/03/07/sarah-koenig-on-fame-reporting-and-the-overwhelming-pace-of-serial/\" target=\"_blank\" rel=\"noopener\">because no one will notice if it’s bad\u003c/a>” — Snyder saw the potential for the medium in terms of experimenting with longform storytelling. And now that she’s accomplished so much with the podcast, having won a Peabody on top of creating such a popular show, we decided to call her up to chat about it.\u003c/p>\n\u003cfigure id=\"attachment_11488332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488332\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-800x450.jpg\" alt=\"Julie Snyder and Ira Glass make their pitch to advertisers\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP.jpg 1166w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Snyder and Ira Glass make their pitch to advertisers \u003ccite>(Photo: Mattew Septimus/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sarah credits you with the idea of starting a podcast. What made you want to work in the medium?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First of all, it seemed possible that you could actually get a fair amount of listeners. There was a period of time where the technology was there and people were podcasting, but it was really hard to access podcasts and not that many people were listening to them. But by the time we were starting, it seemed like there was a big enough audience for us in “Podcast Land.”\u003c/p>\n\u003cp>But the main thing that I thought really made it easy was that for a show on public radio, there’s a logistical process. First you have to have a distributor who provides it to public radio stations. Then there is the fact that you need to fit into broadcast schedules, and you need to be weekly — consistently weekly — for a whole year. Those kinds of restrictions on broadcasts meant for us — there was only me and Sarah — that we weren’t going to be able to put on a production quite like that.\u003c/p>\n\u003cp>We didn’t have enough money, we didn’t have a big enough staff, we weren’t going to be able to fulfill the professional needs of broadcast radio. But if we made a podcast where we weren’t going to have to service all that stuff, we could do it with just the two of us and with a slim budget. And if it’s not that good, then we’d just stop. [Laughs]\u003c/p>\n\u003cp>\u003cb>What do you regret about the explosion of \u003ci>Serial’s\u003c/i> popularity?\u003c/b>\u003c/p>\n\u003cp>There are certain things that I wish didn’t happen. I wish people didn’t do the armchair detective stuff: publicly speculating on people committing crimes or their characters, their backgrounds and revealing private information about them. That was sort of unsavory and I wish there was some way we could’ve controlled that. That was really shocking for us and it was disheartening.\u003c/p>\n\u003cp>To an extent, this is the price of when you get this many people involved, but I’m not quite sure we’re supposed to be okay with that. I don’t know, I just thought I saw people behaving irresponsibly.\u003c/p>\n\u003cp>\u003cb>Is that one of the reasons you went away from pursuing another true crime story for the second season of \u003ci>Serial\u003c/i>?\u003c/b>\u003c/p>\n\u003caside class=\"pullquote alignright\">I wish people didn’t do the armchair detective stuff… That was sort of unsavory and I wish there was some way we could’ve controlled that\u003cbr>\n\u003ccite>Julie Snyder, \u003ci>Serial\u003c/i> Producer\u003c/cite>\u003c/aside>\n\u003cp>No. \u003ci>Serial\u003c/i> is all about following interesting stories where we feel like they are going to take us to surprising places and we’re going to usually learn something complicated — something that is a lot more ambiguous and a lot more nuanced then what most people take at face value. That, for us, is the definition of \u003ci>Serial.\u003c/i> We never saw \u003ci>Serial\u003c/i> as true crime; I forgot there even was a true crime genre and neither of us thought of the story that way.\u003c/p>\n\u003cp>There are entire cable networks that are devoted true crime stories and once they hit on their successful format, they will keep going back to it. That isn’t our interest at all.\u003c/p>\n\u003cp>\u003cb>What have you learned about the military from covering \u003ca href=\"https://serialpodcast.org/\" target=\"_blank\" rel=\"noopener\">Bowe Bergdahl’s story\u003c/a>?\u003c/b>\u003c/p>\n\u003cp>The main thing I’ve learned — and it seems obvious but I didn’t understand it until I started working on this story — is that the military, and even the Army and the administration, these huge institutions that are reduced to monoliths, are all being run by people. There is such a diversity of views in the Army and also within the government, and within a platoon. People see things differently and they experience them differently, and that’s what affects their choices. There isn’t this monolithic “The Army thinks this way,” or “The generals know this.” It’s really individualistic and there’s a lot of nuance.\u003c/p>\n\u003cfigure id=\"attachment_11488333\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-800x450.jpg\" alt=\"'Serial' producer Julie Snyder stands to the right of Sarah Koenig (center) as she poses with her Peabody award \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP.jpg 983w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Serial’ producer Julie Snyder stands to the right of Sarah Koenig (center) as she poses with her Peabody award \u003ccite>(Photo: Jemal Countess/Getty Images for Peabody Awards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think it’s because these institutions are so powerful you start to feel like there’s a grand plan and a puppet-mastery going on. And breaking it down in a story like this, where we’re just trying to talk to as many individuals who were affected by this story as possible, it becomes clear that the world of this story is so small and specific. With Bowe Bergdahl, he has such a specific and idiosyncratic way of looking at the world — not at all representative of other people — and yet because he involved himself in this really unique incident, the repercussions of it were huge.\u003c/p>\n\u003cp>I also really loved that in this story, we could move from the small and personal, to the big and global.\u003c/p>\n\u003cp>\u003cb>Yeah, and it’s easy to forget how huge this story is. I sometimes worry that Americans suffer from war coverage fatigue, even though it’s still this important story. You not only demonstrate the importance of what’s going on in Afghanistan, you’ve succeeded in humanizing Bowe; I feel I understand him as a person.\u003c/b>\u003c/p>\n\u003cp>That’s the cool thing about audio and it’s the strength of the medium: you hear people speaking for themselves.\u003c/p>\n\u003cp>\u003cb>What do you hope people do with podcasting as a medium?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I would like people to continue experimenting. It’s a very experimental medium and I don’t think we know are the outer bounds of the form yet. It’s exciting to try different things, especially when they service the story or the format.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hardly a week goes by without seeing news about the alarming pace and extent of climate change, from rising sea levels to record-setting temperatures in the Bay Area and beyond.\u003c/p>\n\u003cp>But lost among this torrent of data, policy measures and updated climate models is a different side of climate change — one which Bay Area choreographer KT Nelson wants people to see, and more importantly, feel.\u003c/p>\n\u003cfigure id=\"attachment_11485753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485753\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg\" alt=\"ODC Co-Artistic Director KT Nelson at Yerba Buena Center for the Arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC co-artistic director KT Nelson at Yerba Buena Center for the Arts. \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Perhaps one of the things we need today is to address climate change from a more emotional point of view,” says Nelson, who co-directs \u003ca href=\"http://odcdance.org/index.php\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>, a San Francisco dance company founded in 1971.\u003c/p>\n\u003cp>Inspired by a sabbatical she took to Death Valley in 2013, Nelson created \u003cem>Dead Reckoning\u003c/em>, a production that explores the anxiety, indifference and panic brought on by a world transformed and threatened by climate change.\u003c/p>\n\u003cp>“In \u003cem>Dead Reckoning\u003c/em>, there is this lime-green snow, or confetti, that first starts coming from the dancer’s hands, and eventually it comes from the sky,” Nelson says. “Nothing in nature is like that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Complementing this visual metaphor is the soundtrack to \u003cem>Dead Reckoning\u003c/em>, which is composed by renowned former Kronos Quartet cellist \u003ca href=\"http://www.jjcello.com/\">Joan Jeanrenaud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11485760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg\" alt=\"Joan Jeanrenaud composed the music for 'Dead Reckoning.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud composed the music for ‘Dead Reckoning.’ \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"line-height: 1.5\">The title of Nelson’s work is itself a cautionary metaphor. Sailors typically use dead reckoning to estimate their position at sea based on past measurements. The technique is useful when celestial observations aren’t available owing to thick cloud cover. \u003c/span>\u003c/p>\n\u003cp>Jeanrenaud layers multiple cello tracks on top of each other and changes their tempo in key sections of the piece. She uses the cello’s broad musical range to capture different moods, from aching sorrow to frantic urgency, as dancers variously collide into each other, run in place and dance romantically.\u003c/p>\n\u003cfigure id=\"attachment_11485109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485109\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg\" alt=\"Josie G. Sadan, a company dancer at ODC, during a rehearsal for 'Dead Reckoning.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josie G. Sadan dances during a rehearsal for ‘Dead Reckoning’ at ODC. \u003ccite>(Blake McHugh/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Today, where we are with climate change is we are navigating blindly,” Nelson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dead Reckoning \u003c/em>had its world premiere last year at Yerba Buena Center for the Arts where it returned this year for four performances in March. If you missed it, you can watch the entire performance on\u003ca href=\"http://odcdance.org/performance.php?param=315\" target=\"_blank\" rel=\"noopener\"> ODC’s web site\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hardly a week goes by without seeing news about the alarming pace and extent of climate change, from rising sea levels to record-setting temperatures in the Bay Area and beyond.\u003c/p>\n\u003cp>But lost among this torrent of data, policy measures and updated climate models is a different side of climate change — one which Bay Area choreographer KT Nelson wants people to see, and more importantly, feel.\u003c/p>\n\u003cfigure id=\"attachment_11485753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485753\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg\" alt=\"ODC Co-Artistic Director KT Nelson at Yerba Buena Center for the Arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC co-artistic director KT Nelson at Yerba Buena Center for the Arts. \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Perhaps one of the things we need today is to address climate change from a more emotional point of view,” says Nelson, who co-directs \u003ca href=\"http://odcdance.org/index.php\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>, a San Francisco dance company founded in 1971.\u003c/p>\n\u003cp>Inspired by a sabbatical she took to Death Valley in 2013, Nelson created \u003cem>Dead Reckoning\u003c/em>, a production that explores the anxiety, indifference and panic brought on by a world transformed and threatened by climate change.\u003c/p>\n\u003cp>“In \u003cem>Dead Reckoning\u003c/em>, there is this lime-green snow, or confetti, that first starts coming from the dancer’s hands, and eventually it comes from the sky,” Nelson says. “Nothing in nature is like that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Complementing this visual metaphor is the soundtrack to \u003cem>Dead Reckoning\u003c/em>, which is composed by renowned former Kronos Quartet cellist \u003ca href=\"http://www.jjcello.com/\">Joan Jeanrenaud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11485760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg\" alt=\"Joan Jeanrenaud composed the music for 'Dead Reckoning.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud composed the music for ‘Dead Reckoning.’ \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"line-height: 1.5\">The title of Nelson’s work is itself a cautionary metaphor. Sailors typically use dead reckoning to estimate their position at sea based on past measurements. The technique is useful when celestial observations aren’t available owing to thick cloud cover. \u003c/span>\u003c/p>\n\u003cp>Jeanrenaud layers multiple cello tracks on top of each other and changes their tempo in key sections of the piece. She uses the cello’s broad musical range to capture different moods, from aching sorrow to frantic urgency, as dancers variously collide into each other, run in place and dance romantically.\u003c/p>\n\u003cfigure id=\"attachment_11485109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485109\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg\" alt=\"Josie G. Sadan, a company dancer at ODC, during a rehearsal for 'Dead Reckoning.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josie G. Sadan dances during a rehearsal for ‘Dead Reckoning’ at ODC. \u003ccite>(Blake McHugh/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Today, where we are with climate change is we are navigating blindly,” Nelson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dead Reckoning \u003c/em>had its world premiere last year at Yerba Buena Center for the Arts where it returned this year for four performances in March. If you missed it, you can watch the entire performance on\u003ca href=\"http://odcdance.org/performance.php?param=315\" target=\"_blank\" rel=\"noopener\"> ODC’s web site\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://recordsetter.com/world-record/global-lightsaber-battle/45244\" target=\"_blank\" rel=\"noopener\">world record-breaking\u003c/a> Light Battle Tour, which drew large crowds during its stop in the Embarcadero’s Sue Bierman Park \u003ca href=\"http://www.ktvu.com/news/58937866-story\" target=\"_blank\" rel=\"noopener\">last December\u003c/a>, will now be known as \u003ca href=\"https://catsinspacetour.com/\" target=\"_blank\" rel=\"noopener\">Cats in Space Tour\u003c/a> after a legal settlement with trademark holder Lucasfilm, according to an \u003ca href=\"https://catsinspacetour.com/blogs/news/118143171-statement-re-legal-settlement-with-lucasfilm-cats-in-space-launch\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> on the event’s website.\u003c/p>\n\u003cp>According to the post, the \u003ca href=\"http://ww2.kqed.org/news/2012/10/30/disney-buys-lucasfilm-and-makes-a-star-wars-sequel\" target=\"_blank\" rel=\"noopener\">Disney-helmed Lucasfilm\u003c/a> first approached Canadian non-profit \u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a> with a cease-and-desist in January over the use of the words the words “lightsaber,” “Jedi,” “Sith,” and “The Force.” Then in March, they followed up with another notice over the similarity of the name “Light Battle Tour” to the company’s trademark.\u003c/p>\n\u003cp>As per the settlement, event coordinators re-branded the event to “Cats in Space Tour,” but assure attendees that previous registrations will still be honored and that the event shall proceed as usual. The battle between Space Cats and Space Mice rages on, with the inclusion of the weapon that is clearly not a lightsaber, but a “cat blade”.\u003c/p>\n\u003cfigure id=\"attachment_11488074\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488074\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg\" alt=\"Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade.jpg 900w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \u003ccite>(Photo: Courtesy of Cats in Space Tour. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Cats in Space is a fun, playful series of Space Battles where participants can fight with fantasy weapons, laser guns, and more, while enjoying original artwork on T-shirts that benefit charity,” co-founder Kevin Bracken states in the post.\u003c/p>\n\u003cp>\u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a>, which has been organizing large-scale events in 2005, first launched their Light Battle Tour events in 2007 at the \u003ca href=\"https://www.youtube.com/watch?v=DCV4EK7hVkU\" target=\"_blank\" rel=\"noopener\">Royal Ontario Museum\u003c/a> in Toronto and has since expanded to over ten cities across the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Cats in Space Tour kicks off in Downtown San Jose’s St. James Park on Saturday, Apr. 30. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://recordsetter.com/world-record/global-lightsaber-battle/45244\" target=\"_blank\" rel=\"noopener\">world record-breaking\u003c/a> Light Battle Tour, which drew large crowds during its stop in the Embarcadero’s Sue Bierman Park \u003ca href=\"http://www.ktvu.com/news/58937866-story\" target=\"_blank\" rel=\"noopener\">last December\u003c/a>, will now be known as \u003ca href=\"https://catsinspacetour.com/\" target=\"_blank\" rel=\"noopener\">Cats in Space Tour\u003c/a> after a legal settlement with trademark holder Lucasfilm, according to an \u003ca href=\"https://catsinspacetour.com/blogs/news/118143171-statement-re-legal-settlement-with-lucasfilm-cats-in-space-launch\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> on the event’s website.\u003c/p>\n\u003cp>According to the post, the \u003ca href=\"http://ww2.kqed.org/news/2012/10/30/disney-buys-lucasfilm-and-makes-a-star-wars-sequel\" target=\"_blank\" rel=\"noopener\">Disney-helmed Lucasfilm\u003c/a> first approached Canadian non-profit \u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a> with a cease-and-desist in January over the use of the words the words “lightsaber,” “Jedi,” “Sith,” and “The Force.” Then in March, they followed up with another notice over the similarity of the name “Light Battle Tour” to the company’s trademark.\u003c/p>\n\u003cp>As per the settlement, event coordinators re-branded the event to “Cats in Space Tour,” but assure attendees that previous registrations will still be honored and that the event shall proceed as usual. The battle between Space Cats and Space Mice rages on, with the inclusion of the weapon that is clearly not a lightsaber, but a “cat blade”.\u003c/p>\n\u003cfigure id=\"attachment_11488074\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488074\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg\" alt=\"Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade.jpg 900w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \u003ccite>(Photo: Courtesy of Cats in Space Tour. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Cats in Space is a fun, playful series of Space Battles where participants can fight with fantasy weapons, laser guns, and more, while enjoying original artwork on T-shirts that benefit charity,” co-founder Kevin Bracken states in the post.\u003c/p>\n\u003cp>\u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a>, which has been organizing large-scale events in 2005, first launched their Light Battle Tour events in 2007 at the \u003ca href=\"https://www.youtube.com/watch?v=DCV4EK7hVkU\" target=\"_blank\" rel=\"noopener\">Royal Ontario Museum\u003c/a> in Toronto and has since expanded to over ten cities across the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'You Couldn't Help But Be The Student': Remembering Tony Conrad",
"headTitle": "‘You Couldn’t Help But Be The Student’: Remembering Tony Conrad | KQED",
"content": "\u003cp>Tony Conrad’s violin was a suture on the soul. Using those droning strings, he conjured bracing and beautiful hues between colors, between notes, between worlds. The experimental musician, composer and filmmaker who was a key component of the ’60s Lower Manhattan art scene — and who never really stopped innovating — died Saturday of pneumonia at the age of 76.\u003c/p>\n\u003cp>Conrad’s influence and discography goes wide. Playing alongside La Monte Young, \u003ca href=\"http://www.npr.org/artists/17090462/john-cale\" target=\"_blank\" rel=\"noopener\">John Cale\u003c/a>, Angus MacLise and Marian Zazeela in the Theatre of Eternal Music (a.k.a. The Dream Syndicate), he introduced drone music to Western audiences. In the mid-’60s, Conrad and Cale were recruited to back a short-lived band called The Primitives featuring a young \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a> — Conrad left, but the remaining members would start \u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">The Velvet Underground\u003c/a>. His 1973 album \u003cem>Outside The Dream Syndicate\u003c/em>, recorded with the German band Faust, became a benchmark of minimalism, thudding with motorik rhythm and lost in Conrad’s kaleidoscopic violin. From the ’90s onward, his recorded works grew exponentially, including collaborations with the likes of Charlemagne Palestine, \u003ca href=\"http://www.npr.org/artists/121639212/jim-o-rourke\" target=\"_blank\" rel=\"noopener\">Jim O’Rourke\u003c/a>, MV Carbon, Genesis Breyer P-Orridge and David Grubbs, among others.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FGMnDcwoXns\u003c/p>\n\u003cp>Over the weekend, while many praised Conrad’s musical innovation and inspiration, those who knew him intimately, spoke of his natural gift to teach. Since 1976, he had been a faculty member at SUNY-Buffalo, where he taught media studies — writer Brandon Stosuy has a \u003ca href=\"http://pitchfork.com/thepitch/1094-remembering-my-friend-tony-conrad-and-his-eternal-music/\" target=\"_blank\" rel=\"noopener\">touching essay\u003c/a> on his time as a student there that’s worth reading. But Conrad was also open beyond his academic duties, freely sharing his knowledge and wisdom. Even in the briefest of moments, Conrad could turn an offhand comment into a meditation. Before a gig at the now-shuttered Brooklyn space New York Paris London West Nile, clarinetist and composer \u003ca href=\"http://www.npr.org/artists/464329445/jeremiah-cymerman\">Jeremiah Cymerman\u003c/a> told Conrad he could barely play a note on the bass clarinet. Tony’s response was, “You only need one note, as long it’s the right note.”\u003c/p>\n\u003cp>“For somebody of his stature, he had no airs,” guitarist \u003ca href=\"http://www.npr.org/artists/341656889/chris-forsyth\" target=\"_blank\" rel=\"noopener\">Chris Forsyth\u003c/a> says of his time taking a workshop with Tony Conrad.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Forsyth is one of six musicians and composers with whom I talked about Conrad’s role as a teacher — not only a professor, but also a guide onstage and in practice rooms, often with people generations removed. “I think that he genuinely wanted to be around people who were not jaded,” says David Grubbs, “and that generally meant younger people.” Conrad built a community on which he not only imparted history and insight but that he also supported by constantly attending shows and improvising with its new breed of experimentalists. Grubbs, C. Spencer Yeh, Jennifer Walshe, Chris Forsyth, \u003ca href=\"http://www.npr.org/artists/95052631/mercury-rev\" target=\"_blank\" rel=\"noopener\">Mercury Rev\u003c/a>‘s Sean “Grasshopper” Mackowiak and Ben Vida (Bird Show, Town and Country) all share their stories, which showcase Conrad’s gently challenging methods. And in his own undefinable way, it also turns out that Tony Conrad was a helluva cut-up.\u003c/p>\n\u003chr>\n\u003ch3>David Grubbs\u003c/h3>\n\u003cp>\u003cem>Grubbs met Conrad in 1994, as a member of the band Gastr Del Sol with Jim O’Rourke, and not long after found himself in Chicago, recording \u003ca href=\"https://www.youtube.com/watch?v=virk_cjfBt8\" target=\"_blank\" rel=\"noopener\">Slapping Pythagoras\u003c/a>\u003c/em>\u003cem>. Afterwards, the two remained colleagues and friends.\u003c/em>\u003c/p>\n\u003cp>My first encounter with him was in the studio at Steve Albini’s house, there were six guitar players and it was already a little bit like a classroom situation. You know, we were all in a row with our guitars horizontally in front of us — and Tony. The first thing that he said was, “Okay, who has the loudest ground hum from your guitar?” And somebody had a guitar with a single-coil pickup and Tony said, “Okay, turn the amp up to 10, and okay that’s a 60-cycle hum, and we’re going to use that as the root tone and we’re all going to tune on whole-number fraction intervals related to that.” So it was already like being in a class, or taking a workshop from Tony the second that you started playing music with him.\u003c/p>\n\u003cp>He was really one of the most Socratic and radically egalitarian people I’ve ever met, but he was just so f****** brilliant that he couldn’t help but be the teacher, or you couldn’t help but be the student. And it was always delivered with this incredible humor. Without fail, one of the consistently most hilarious people that you could ever hope to meet. You know, you’d just bust a gut laughing around him. If that’s one of his qualities as a teacher, then that’s an incredible quality to bring to that kind of pedagogical situation.\u003c/p>\n\u003cp>And also, let’s go ahead and say it, he was the most brilliant, the smartest. I have a kid in grade school and people are very concerned like, “Who’s the smartest?” As an adult, I never ever think things like, “Who’s smarter than whom?” except maybe with reference to Tony, where I’m like, obviously, he was head and shoulders so much smarter than everybody around him. But he never seemed to hold it against people. [Laughs.] Everybody was dumber than he was.\u003c/p>\n\u003chr>\n\u003ch3>C. Spencer Yeh\u003c/h3>\n\u003cp>\u003cem>The Brooklyn-based musician would cross paths Conrad while touring through Buffalo, and would release an \u003ca href=\"http://www.picadisk.com/pica013.html\" target=\"_blank\" rel=\"noopener\">excellent album\u003c/a> with him in 2010. \u003c/em>\u003c/p>\n\u003cp>I knew Tony first as a distant legend, then as an astounding presence and curious personality, and finally as a friend, a fellow artist in the present. When I say “fellow artist,” I mean less about how I perceive my work next to his, but rather as a compliment to how he was – that he didn’t go the route of hiding himself away, rarefying himself, halting his achievement and living in the past. I don’t know how else to put it other than he was always “present.” He was one of the few idols of mine that I wanted to work and hang out with, and to talk to.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jt7A5vW_LEg\u003c/p>\n\u003cp>I first got to know Tony’s work while in school in Chicago in the ’90s, both in film/video through class with my professor Tom Gunning, and in music/sound (the college radio station WNUR, being a spectator in the scene at the time through working with the record label, Skin Graft, and being around people like David Grubbs and Jim O’Rourke). From there, touring and crossing paths with Tony, getting to know him and starting to work with him (both collaboratively as well as being in performances of his works), then by moving to New York, living in the same neighborhood, checking out the same shows or art events. He’d been there all along in my own development of whatever it is I’m trying to do, and my developing relationship with Tony was an evolving life lesson on how to be an artist – how to “be” an artist, as in to “be” in the world, and whatever thing you had done doesn’t put you above (or below) others, and that you don’t have to isolate yourself from the present to be taken seriously and deeply. Learning that being an artist extends beyond the objects or sounds or light you make – that it’s how you think, how you carry yourself, how you “be” in the world.\u003c/p>\n\u003cp>There were two ways he could explain things. One was the “Tony” way, just a dazzle of theories and knowledge, provocation. Then, there was the way we are when we are all just trying to get by – warm and grounded. I thought I would be able to see Tony around NYC forever, to rely on the next time I get to see that smile and hear that chuckle, or the storm of frustrated curses when his mishmash of electronics would start feeding back.\u003c/p>\n\u003chr>\n\u003ch3>Jennifer Walshe\u003c/h3>\n\u003cp>\u003cem>The Irish vocalist, composer and improviser Jennifer Walshe met Conrad at the Electric Eclectics festival in 2008. Though she is now based in London, the two would meet weekly in each other’s New York apartments to jam on whatever instruments were available. They were set to mix their duo album in May. \u003c/em>\u003c/p>\n\u003cp>The one thing that I felt with Tony was that anything was up for grabs. You could just do whatever the hell you wanted and as long as you were focused, and as long as you were in it, that was good. He said to me, “I think you should use text. I don’t understand why there’s this disconnect.” When I say text, I mean the text is completely linked with what the voice is doing. It’s not slam poetry or something like that. It’s just weird stories or weird snippets of text. He wrote this text that about a tiny puppy s****** on the street. He was like, “This is where we should begin!” I was like, “This is insane.” But it made me push, and it made me think about why I never used text in improvisation before.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/473926469/473930952\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>When we started playing together, he was 69. I would say, “I can’t believe I’m playing with this 69-year-old guy and I feel more liberated than I do when I play with a 23-year-old noise kid.” David [Grubbs] knew him in the ’90s when he would have been in his 50s, but I only got to know Tony in his very late 60s and his 70s. What I saw was somebody who could tell me, “Here are the most important artistic moments in my life where I realized this is absolute s***. I want to develop the next 5-10 years.” He could have easily said, “I’m the drone guy,” and lived out the rest of his life. That’s somebody who’s always learning and that’s going to be with me forever.\u003c/p>\n\u003cp>He wrote me a reference and I’m now a reader (which is the U.K. equivalent of a professor) at Brunel University in London. He would give me teaching advise, which he claimed he got from an in-flight magazine. [Laughs.] He said, “What you do is you ask them a question and you pretend to write something down. And nobody will answer. And you just keep pretending that you’re writing something down until it becomes agonizing. Then one of them will eventually talk.” he said, “That’s what I read in an in-flight magazine.” [Laughs.]\u003c/p>\n\u003chr>\n\u003ch3>Chris Forsyth\u003c/h3>\n\u003cp>\u003cem>The Philadelphia-based guitarist has been releasing records with the Solar Motel Band since 2013, but around 2007, at the tail end of his time with the Brooklyn experimental rockers Peeesseye, Forsyth took a month-long workshop with Conrad who bashed the \u003ca href=\"https://en.wikipedia.org/wiki/Pythagorean_tuning\" target=\"_blank\" rel=\"noopener\">Pythagorean influence\u003c/a> on Western music and opened Forsyth’s ears and eyes.\u003c/em>\u003c/p>\n\u003cp>He held a workshop every Sunday afternoon with maybe 30 people at each one — it was mostly experimental-music and noise people. In other words, not people who were virtuosos or trained — a lot of aesthetically ambitious but technically primitive players. He was teaching music theory to them. I felt like, looking around the room, I maybe had a little bit more grounding in that stuff than others, but my grounding in it was ultra conventional — it was the stuff that Tony was taking apart. Like, [Television guitarist] Richard Lloyd held Pythagoras in very high esteem. Tony Conrad did not. It was about undermining the authority of this figure that dominated Western music theory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HveVIhfO8Rs\u003c/p>\n\u003cp>I wouldn’t want to be responsible for giving an explanation the way he broke down the flaws in Pythagorean musical theory, but he talked about it as the original sin of Western civilization. He said that when we stepped away from the natural ratios — because it was more convenient to have all the notes equally tempered — that’s when things started to really go wrong. This really appealed to me as someone who has issues with authority.\u003c/p>\n\u003cp>But he also tied it into this whole outlook on one’s place in the world and in our culture. He made it really present because it was about taking down the hierarchies exist that run our world and run our lives. He talked about music as the foundation of civilization. Because of the way that music is set up, it instills all these kinds of values, which dominate our culture today. It was empowering. It was a lens through which you could understand these complex systems both in music, which can be really arcane and mathematical, but he also put it into this real world context. He was an enthusiastic, authentic teacher — he was so invested in what we was telling everybody.\u003c/p>\n\u003chr>\n\u003ch3>Sean “Grasshopper” Mackowiak\u003c/h3>\n\u003cp>\u003cem>In autumn 1984, Mackowiak, a founding member of the band Mercury Rev, went to SUNY-Buffalo, but quickly became disillusioned with his mathematics and engineering major. Not long after he started auditing Tony Conrad’s class, he switched to media studies and spent the next four years with him.\u003c/em>\u003c/p>\n\u003cp>His brilliance and curiosity were infectious. He was a natural raconteur, telling stories, seamlessly connecting the history of classical music, avant-garde music, film, pop culture, video, performance art, cultural studies, mathematics, psychology, philosophy, alchemy, etc. in ways I had never imagined. The class was called “Electronic Image Analysis,” but we would talk about Fluxus, The Situationists, the music of Harry Partch, the films of Harry Smith, anything and everything. All very enlightening stuff! There was no Internet then, you couldn’t Google this stuff — he had it all in his head and shared it with us. He had encyclopedic knowledge of arts, culture, history, science, and alchemy from pre-Greek civilization to the present.\u003c/p>\n\u003cp>One of the first assignments he had the class do was to pick a film or piece of music that we personally strongly disliked, and write about it in a very positive way. Then the next week, we were to do the opposite, pick something we liked and totally trash it. That was an amazing exercise in opening the mind up to questioning: “What is high-brow? What is low-brow? What is good art and what is bad art?” One starts to realize that those questions are all somewhat subjective to the time and cultural circumstantial moment. The distinctions between Folk Art/Folk Music and the “Classics” were erased. Tony took Robert Creeley’s statement that “Form is never more than an extension of content” and flipped it to “Content is never more than an extension of form.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZJbqnztjkbs\u003c/p>\n\u003cp>He told me to be wary of being labeled. Be wary of being in a “movement.” He said that whenever he was labeled something — a “minimalist” or “structural filmmaker” — he usually abandoned what he was doing and wiped the slate clean.\u003c/p>\n\u003cp>I sat next to him at a lecture that \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> was giving in Buffalo at Hallwalls and he fell asleep during it. I don’t know if he was faking it or really asleep, but it was perfect! His day to day life was like a giant performance art piece.\u003c/p>\n\u003chr>\n\u003ch3>Ben Vida\u003c/h3>\n\u003cp>\u003cem>Tony Conrad and Vida’s old band Town and Country toured together in 2004. Conrad showed Vida that art transcended medium.\u003c/em>\u003c/p>\n\u003cp>My first memory has to do with going to see Tony present some of his films. This was perhaps 1997. It was at a venue in Chicago called the Lunar Cabaret. In the audience, if memory serves, was Jim O’Rourke, David Grubbs, John Corbett and only a few others. Tony presented the films almost as a performance. His presence and storytelling was as illuminating as the work itself. So much humor, intelligence and generous energy — and always mischievous. For me it was a formative moment where I started to understand the porousness between artistic processes. That, in the right hands, mediums were mutable and that performance could be a more more expansive practice.\u003c/p>\n\u003cp>When I was back in school getting my MFA, Tony came in as a guest instructor. He stirred s*** up so effortlessly and with such intelligence. He brought a point of view that was, at once, in touch with the old avant-garde but also completely present and contemporary. I remember him saying to a group of students something like, “It’s okay if I don’t like your work. I shouldn’t like it. We are from different generations.” I took this to mean that the work of a young artist today shouldn’t sit easily with an older artist — you’re supposed to be pushing beyond what has come before, and in that, there should be distortions and disconnects. It shouldn’t be easy.\u003c/p>\n\u003cp>As my own practice has continued to evolve, and I find myself oscillating between the music and art worlds, Tony’s writing and lectures and music and art continue to inform how I see and listen and think about things. I don’t think he ever stopped experimenting. And I don’t think he ever stopped pushing. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-CQBe2mNW60\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27You+Couldn%27t+Help+But+Be+The+Student%27%3A+Remembering+Tony+Conrad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tony Conrad’s violin was a suture on the soul. Using those droning strings, he conjured bracing and beautiful hues between colors, between notes, between worlds. The experimental musician, composer and filmmaker who was a key component of the ’60s Lower Manhattan art scene — and who never really stopped innovating — died Saturday of pneumonia at the age of 76.\u003c/p>\n\u003cp>Conrad’s influence and discography goes wide. Playing alongside La Monte Young, \u003ca href=\"http://www.npr.org/artists/17090462/john-cale\" target=\"_blank\" rel=\"noopener\">John Cale\u003c/a>, Angus MacLise and Marian Zazeela in the Theatre of Eternal Music (a.k.a. The Dream Syndicate), he introduced drone music to Western audiences. In the mid-’60s, Conrad and Cale were recruited to back a short-lived band called The Primitives featuring a young \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a> — Conrad left, but the remaining members would start \u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">The Velvet Underground\u003c/a>. His 1973 album \u003cem>Outside The Dream Syndicate\u003c/em>, recorded with the German band Faust, became a benchmark of minimalism, thudding with motorik rhythm and lost in Conrad’s kaleidoscopic violin. From the ’90s onward, his recorded works grew exponentially, including collaborations with the likes of Charlemagne Palestine, \u003ca href=\"http://www.npr.org/artists/121639212/jim-o-rourke\" target=\"_blank\" rel=\"noopener\">Jim O’Rourke\u003c/a>, MV Carbon, Genesis Breyer P-Orridge and David Grubbs, among others.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FGMnDcwoXns'\n title='//www.youtube.com/embed/FGMnDcwoXns'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over the weekend, while many praised Conrad’s musical innovation and inspiration, those who knew him intimately, spoke of his natural gift to teach. Since 1976, he had been a faculty member at SUNY-Buffalo, where he taught media studies — writer Brandon Stosuy has a \u003ca href=\"http://pitchfork.com/thepitch/1094-remembering-my-friend-tony-conrad-and-his-eternal-music/\" target=\"_blank\" rel=\"noopener\">touching essay\u003c/a> on his time as a student there that’s worth reading. But Conrad was also open beyond his academic duties, freely sharing his knowledge and wisdom. Even in the briefest of moments, Conrad could turn an offhand comment into a meditation. Before a gig at the now-shuttered Brooklyn space New York Paris London West Nile, clarinetist and composer \u003ca href=\"http://www.npr.org/artists/464329445/jeremiah-cymerman\">Jeremiah Cymerman\u003c/a> told Conrad he could barely play a note on the bass clarinet. Tony’s response was, “You only need one note, as long it’s the right note.”\u003c/p>\n\u003cp>“For somebody of his stature, he had no airs,” guitarist \u003ca href=\"http://www.npr.org/artists/341656889/chris-forsyth\" target=\"_blank\" rel=\"noopener\">Chris Forsyth\u003c/a> says of his time taking a workshop with Tony Conrad.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Forsyth is one of six musicians and composers with whom I talked about Conrad’s role as a teacher — not only a professor, but also a guide onstage and in practice rooms, often with people generations removed. “I think that he genuinely wanted to be around people who were not jaded,” says David Grubbs, “and that generally meant younger people.” Conrad built a community on which he not only imparted history and insight but that he also supported by constantly attending shows and improvising with its new breed of experimentalists. Grubbs, C. Spencer Yeh, Jennifer Walshe, Chris Forsyth, \u003ca href=\"http://www.npr.org/artists/95052631/mercury-rev\" target=\"_blank\" rel=\"noopener\">Mercury Rev\u003c/a>‘s Sean “Grasshopper” Mackowiak and Ben Vida (Bird Show, Town and Country) all share their stories, which showcase Conrad’s gently challenging methods. And in his own undefinable way, it also turns out that Tony Conrad was a helluva cut-up.\u003c/p>\n\u003chr>\n\u003ch3>David Grubbs\u003c/h3>\n\u003cp>\u003cem>Grubbs met Conrad in 1994, as a member of the band Gastr Del Sol with Jim O’Rourke, and not long after found himself in Chicago, recording \u003ca href=\"https://www.youtube.com/watch?v=virk_cjfBt8\" target=\"_blank\" rel=\"noopener\">Slapping Pythagoras\u003c/a>\u003c/em>\u003cem>. Afterwards, the two remained colleagues and friends.\u003c/em>\u003c/p>\n\u003cp>My first encounter with him was in the studio at Steve Albini’s house, there were six guitar players and it was already a little bit like a classroom situation. You know, we were all in a row with our guitars horizontally in front of us — and Tony. The first thing that he said was, “Okay, who has the loudest ground hum from your guitar?” And somebody had a guitar with a single-coil pickup and Tony said, “Okay, turn the amp up to 10, and okay that’s a 60-cycle hum, and we’re going to use that as the root tone and we’re all going to tune on whole-number fraction intervals related to that.” So it was already like being in a class, or taking a workshop from Tony the second that you started playing music with him.\u003c/p>\n\u003cp>He was really one of the most Socratic and radically egalitarian people I’ve ever met, but he was just so f****** brilliant that he couldn’t help but be the teacher, or you couldn’t help but be the student. And it was always delivered with this incredible humor. Without fail, one of the consistently most hilarious people that you could ever hope to meet. You know, you’d just bust a gut laughing around him. If that’s one of his qualities as a teacher, then that’s an incredible quality to bring to that kind of pedagogical situation.\u003c/p>\n\u003cp>And also, let’s go ahead and say it, he was the most brilliant, the smartest. I have a kid in grade school and people are very concerned like, “Who’s the smartest?” As an adult, I never ever think things like, “Who’s smarter than whom?” except maybe with reference to Tony, where I’m like, obviously, he was head and shoulders so much smarter than everybody around him. But he never seemed to hold it against people. [Laughs.] Everybody was dumber than he was.\u003c/p>\n\u003chr>\n\u003ch3>C. Spencer Yeh\u003c/h3>\n\u003cp>\u003cem>The Brooklyn-based musician would cross paths Conrad while touring through Buffalo, and would release an \u003ca href=\"http://www.picadisk.com/pica013.html\" target=\"_blank\" rel=\"noopener\">excellent album\u003c/a> with him in 2010. \u003c/em>\u003c/p>\n\u003cp>I knew Tony first as a distant legend, then as an astounding presence and curious personality, and finally as a friend, a fellow artist in the present. When I say “fellow artist,” I mean less about how I perceive my work next to his, but rather as a compliment to how he was – that he didn’t go the route of hiding himself away, rarefying himself, halting his achievement and living in the past. I don’t know how else to put it other than he was always “present.” He was one of the few idols of mine that I wanted to work and hang out with, and to talk to.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Jt7A5vW_LEg'\n title='//www.youtube.com/embed/Jt7A5vW_LEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I first got to know Tony’s work while in school in Chicago in the ’90s, both in film/video through class with my professor Tom Gunning, and in music/sound (the college radio station WNUR, being a spectator in the scene at the time through working with the record label, Skin Graft, and being around people like David Grubbs and Jim O’Rourke). From there, touring and crossing paths with Tony, getting to know him and starting to work with him (both collaboratively as well as being in performances of his works), then by moving to New York, living in the same neighborhood, checking out the same shows or art events. He’d been there all along in my own development of whatever it is I’m trying to do, and my developing relationship with Tony was an evolving life lesson on how to be an artist – how to “be” an artist, as in to “be” in the world, and whatever thing you had done doesn’t put you above (or below) others, and that you don’t have to isolate yourself from the present to be taken seriously and deeply. Learning that being an artist extends beyond the objects or sounds or light you make – that it’s how you think, how you carry yourself, how you “be” in the world.\u003c/p>\n\u003cp>There were two ways he could explain things. One was the “Tony” way, just a dazzle of theories and knowledge, provocation. Then, there was the way we are when we are all just trying to get by – warm and grounded. I thought I would be able to see Tony around NYC forever, to rely on the next time I get to see that smile and hear that chuckle, or the storm of frustrated curses when his mishmash of electronics would start feeding back.\u003c/p>\n\u003chr>\n\u003ch3>Jennifer Walshe\u003c/h3>\n\u003cp>\u003cem>The Irish vocalist, composer and improviser Jennifer Walshe met Conrad at the Electric Eclectics festival in 2008. Though she is now based in London, the two would meet weekly in each other’s New York apartments to jam on whatever instruments were available. They were set to mix their duo album in May. \u003c/em>\u003c/p>\n\u003cp>The one thing that I felt with Tony was that anything was up for grabs. You could just do whatever the hell you wanted and as long as you were focused, and as long as you were in it, that was good. He said to me, “I think you should use text. I don’t understand why there’s this disconnect.” When I say text, I mean the text is completely linked with what the voice is doing. It’s not slam poetry or something like that. It’s just weird stories or weird snippets of text. He wrote this text that about a tiny puppy s****** on the street. He was like, “This is where we should begin!” I was like, “This is insane.” But it made me push, and it made me think about why I never used text in improvisation before.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/473926469/473930952\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>When we started playing together, he was 69. I would say, “I can’t believe I’m playing with this 69-year-old guy and I feel more liberated than I do when I play with a 23-year-old noise kid.” David [Grubbs] knew him in the ’90s when he would have been in his 50s, but I only got to know Tony in his very late 60s and his 70s. What I saw was somebody who could tell me, “Here are the most important artistic moments in my life where I realized this is absolute s***. I want to develop the next 5-10 years.” He could have easily said, “I’m the drone guy,” and lived out the rest of his life. That’s somebody who’s always learning and that’s going to be with me forever.\u003c/p>\n\u003cp>He wrote me a reference and I’m now a reader (which is the U.K. equivalent of a professor) at Brunel University in London. He would give me teaching advise, which he claimed he got from an in-flight magazine. [Laughs.] He said, “What you do is you ask them a question and you pretend to write something down. And nobody will answer. And you just keep pretending that you’re writing something down until it becomes agonizing. Then one of them will eventually talk.” he said, “That’s what I read in an in-flight magazine.” [Laughs.]\u003c/p>\n\u003chr>\n\u003ch3>Chris Forsyth\u003c/h3>\n\u003cp>\u003cem>The Philadelphia-based guitarist has been releasing records with the Solar Motel Band since 2013, but around 2007, at the tail end of his time with the Brooklyn experimental rockers Peeesseye, Forsyth took a month-long workshop with Conrad who bashed the \u003ca href=\"https://en.wikipedia.org/wiki/Pythagorean_tuning\" target=\"_blank\" rel=\"noopener\">Pythagorean influence\u003c/a> on Western music and opened Forsyth’s ears and eyes.\u003c/em>\u003c/p>\n\u003cp>He held a workshop every Sunday afternoon with maybe 30 people at each one — it was mostly experimental-music and noise people. In other words, not people who were virtuosos or trained — a lot of aesthetically ambitious but technically primitive players. He was teaching music theory to them. I felt like, looking around the room, I maybe had a little bit more grounding in that stuff than others, but my grounding in it was ultra conventional — it was the stuff that Tony was taking apart. Like, [Television guitarist] Richard Lloyd held Pythagoras in very high esteem. Tony Conrad did not. It was about undermining the authority of this figure that dominated Western music theory.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HveVIhfO8Rs'\n title='//www.youtube.com/embed/HveVIhfO8Rs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I wouldn’t want to be responsible for giving an explanation the way he broke down the flaws in Pythagorean musical theory, but he talked about it as the original sin of Western civilization. He said that when we stepped away from the natural ratios — because it was more convenient to have all the notes equally tempered — that’s when things started to really go wrong. This really appealed to me as someone who has issues with authority.\u003c/p>\n\u003cp>But he also tied it into this whole outlook on one’s place in the world and in our culture. He made it really present because it was about taking down the hierarchies exist that run our world and run our lives. He talked about music as the foundation of civilization. Because of the way that music is set up, it instills all these kinds of values, which dominate our culture today. It was empowering. It was a lens through which you could understand these complex systems both in music, which can be really arcane and mathematical, but he also put it into this real world context. He was an enthusiastic, authentic teacher — he was so invested in what we was telling everybody.\u003c/p>\n\u003chr>\n\u003ch3>Sean “Grasshopper” Mackowiak\u003c/h3>\n\u003cp>\u003cem>In autumn 1984, Mackowiak, a founding member of the band Mercury Rev, went to SUNY-Buffalo, but quickly became disillusioned with his mathematics and engineering major. Not long after he started auditing Tony Conrad’s class, he switched to media studies and spent the next four years with him.\u003c/em>\u003c/p>\n\u003cp>His brilliance and curiosity were infectious. He was a natural raconteur, telling stories, seamlessly connecting the history of classical music, avant-garde music, film, pop culture, video, performance art, cultural studies, mathematics, psychology, philosophy, alchemy, etc. in ways I had never imagined. The class was called “Electronic Image Analysis,” but we would talk about Fluxus, The Situationists, the music of Harry Partch, the films of Harry Smith, anything and everything. All very enlightening stuff! There was no Internet then, you couldn’t Google this stuff — he had it all in his head and shared it with us. He had encyclopedic knowledge of arts, culture, history, science, and alchemy from pre-Greek civilization to the present.\u003c/p>\n\u003cp>One of the first assignments he had the class do was to pick a film or piece of music that we personally strongly disliked, and write about it in a very positive way. Then the next week, we were to do the opposite, pick something we liked and totally trash it. That was an amazing exercise in opening the mind up to questioning: “What is high-brow? What is low-brow? What is good art and what is bad art?” One starts to realize that those questions are all somewhat subjective to the time and cultural circumstantial moment. The distinctions between Folk Art/Folk Music and the “Classics” were erased. Tony took Robert Creeley’s statement that “Form is never more than an extension of content” and flipped it to “Content is never more than an extension of form.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZJbqnztjkbs'\n title='//www.youtube.com/embed/ZJbqnztjkbs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He told me to be wary of being labeled. Be wary of being in a “movement.” He said that whenever he was labeled something — a “minimalist” or “structural filmmaker” — he usually abandoned what he was doing and wiped the slate clean.\u003c/p>\n\u003cp>I sat next to him at a lecture that \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> was giving in Buffalo at Hallwalls and he fell asleep during it. I don’t know if he was faking it or really asleep, but it was perfect! His day to day life was like a giant performance art piece.\u003c/p>\n\u003chr>\n\u003ch3>Ben Vida\u003c/h3>\n\u003cp>\u003cem>Tony Conrad and Vida’s old band Town and Country toured together in 2004. Conrad showed Vida that art transcended medium.\u003c/em>\u003c/p>\n\u003cp>My first memory has to do with going to see Tony present some of his films. This was perhaps 1997. It was at a venue in Chicago called the Lunar Cabaret. In the audience, if memory serves, was Jim O’Rourke, David Grubbs, John Corbett and only a few others. Tony presented the films almost as a performance. His presence and storytelling was as illuminating as the work itself. So much humor, intelligence and generous energy — and always mischievous. For me it was a formative moment where I started to understand the porousness between artistic processes. That, in the right hands, mediums were mutable and that performance could be a more more expansive practice.\u003c/p>\n\u003cp>When I was back in school getting my MFA, Tony came in as a guest instructor. He stirred s*** up so effortlessly and with such intelligence. He brought a point of view that was, at once, in touch with the old avant-garde but also completely present and contemporary. I remember him saying to a group of students something like, “It’s okay if I don’t like your work. I shouldn’t like it. We are from different generations.” I took this to mean that the work of a young artist today shouldn’t sit easily with an older artist — you’re supposed to be pushing beyond what has come before, and in that, there should be distortions and disconnects. It shouldn’t be easy.\u003c/p>\n\u003cp>As my own practice has continued to evolve, and I find myself oscillating between the music and art worlds, Tony’s writing and lectures and music and art continue to inform how I see and listen and think about things. I don’t think he ever stopped experimenting. And I don’t think he ever stopped pushing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Goodbye, Lake Wobegon: 'Prairie Home' is Getting a New Host",
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"content": "\u003cp>No more Guy Noir, Private Eye. No more tales of Dusty and Lefty, the luckless cowboys. And no more weekly “News From Lake Wobegon,” the imaginary Minnesota town famous for strong women, good-looking men and above-average children.\u003c/p>\n\u003cp>Those signature comedy sketches will vanish from the airwaves when humorist and best-selling author Garrison Keillor retires as host of his popular public radio show, \u003cem>A Prairie Home Companion\u003c/em>, this summer. After Keillor, whose sonorous voice and witty writing entertained millions of listeners for four decades, steps down, mandolin ace Chris Thile of the bands Punch Brothers and Nickel Creek will step in as the first full-time replacement host in October.\u003c/p>\n\u003cp>“I thought that the show should press the restart and not try to replicate what it has evolved into,” Keillor explained, “but go back to the beginning and revive itself as a music show with comedy add-ons.”\u003c/p>\n\u003cp>Some things won’t change, Keillor and Thile say. The show’s name will remain \u003cem>A Prairie Home Companion\u003c/em> (for now), its home base will stay at the 1,000-seat, elegantly restored Fitzgerald Theater in downtown St. Paul, and the live show will keep its two-hour Saturday evening time slot. Keillor says he will remain as executive producer and “a remote, benevolent gray eminence who phones in his thoughts every so often.”\u003c/p>\n\u003cp>“Garrison created a template that I think is immortal,” an effervescent Thile said during a recent interview on the Fitzgerald stage. “It doesn’t feel like any kind of constraint. It’s like a license. I feel like I have my license to go and make some good radio.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if the shows Thile guest-hosted in January and February are any indication, listeners can expect a hipper batch of musical performers. Singer-songwriter Ben Folds, alt-country singer Brandi Carlile, multi-instrumentalist and whistler Andrew Bird and Paul Simon — perhaps the biggest musical name to ever perform on “Prairie Home” — were among the guests. Thile just had to pick up the phone and see if Simon was available.\u003c/p>\n\u003cp>Keillor praises Thile’s musical connections as well as his respect for old-time bluegrass music.\u003c/p>\n\u003cp>“It seems to me if anybody was meant to host and produce a musical variety show that has real intensity and integrity, it’s him,” Keillor said in a telephone interview.\u003c/p>\n\u003cp>At 35, Thile is three years older than when Keillor, now 73, started the show in 1974. The sandy-haired singer gushes when talking about succeeding Keillor.\u003c/p>\n\u003cp>“The prospect of getting to make things for people on a weekly basis … is beyond compare. It’s what I love to do,” said Thile, who began listening to “Prairie Home” as a boy. Thile was 15 when he made his first appearance on the show in 1996 and has made a dozen or more visits since then.\u003c/p>\n\u003cp>Instead of Keillor’s weekly monologue about Norwegian bachelor farmers and other residents of his fictional hometown of Lake Wobegon, Thile plans to write a new song every week that may take into account who is on the show. “Prairie Home” pianist and composer Richard Dworsky will remain, and Thile plans to bring back regular performers Tim Russell, Sue Scott and sound-effects guy Fred Newman but perhaps pair them with guest actors or comedians.\u003c/p>\n\u003cp>“Prairie Home” undoubtedly will lose its Minnesota worldview with Anoka native Keillor gone. Thile was born in San Diego, grew up in Idyllwild in the San Jacinto mountains of Southern California and has lived in Kentucky; Nashville, Tennessee; San Francisco and New York. He now lives in Portland, Oregon, with his wife, actress Claire Coffee of the TV show \u003cem>Grimm\u003c/em>, and their young son. Thile plans to stay in Portland, where \u003cem>Grimm\u003c/em> is filmed, and commute for “Prairie Home.”\u003c/p>\n\u003cp>Thile said the new “Prairie Home” will reflect “the increasingly diffuse experience that most people have.”\u003c/p>\n\u003cp>Keillor will tape his final “Prairie Home” on July 1 at the Hollywood Bowl for broadcast the following day in its regular time slot. Thile makes his debut as replacement host Oct. 15 at the Fitzgerald. A 13-show season is planned at first, about half a normal 26-show run.\u003c/p>\n\u003cp>A big part of the show’s revenue comes from stations that pay to carry it. Bill Thomas, director of radio for Prairie Public Broadcasting in North Dakota, said he plans to sign up for the new season to give Thile a chance.\u003c/p>\n\u003cp>“I suspect a lot of people will say they don’t like it, it’s not Garrison Keillor,” Thomas said. “Of course it won’t be. We’ll just have to see.”\u003c/p>\n\u003cp>Both Thile and Keillor say public radio stations need to rally around the new show. “Prairie Home” has a weekly audience of more than 3.5 million listeners on 700 public radio stations in the U.S. When Keillor originally tried to retire in 1987, a substitute show, \u003cem>Good Evening\u003c/em>, hosted by Noah Adams of public radio’s \u003cem>All Things Considered\u003c/em>, lasted just a year.\u003c/p>\n\u003cp>“I think (“Prairie Home”) needs to be handed off to somebody and not just go into rerun purgatory,” Keillor said. “I really think this guy (Thile) brings something to public radio that public radio needs.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No more Guy Noir, Private Eye. No more tales of Dusty and Lefty, the luckless cowboys. And no more weekly “News From Lake Wobegon,” the imaginary Minnesota town famous for strong women, good-looking men and above-average children.\u003c/p>\n\u003cp>Those signature comedy sketches will vanish from the airwaves when humorist and best-selling author Garrison Keillor retires as host of his popular public radio show, \u003cem>A Prairie Home Companion\u003c/em>, this summer. After Keillor, whose sonorous voice and witty writing entertained millions of listeners for four decades, steps down, mandolin ace Chris Thile of the bands Punch Brothers and Nickel Creek will step in as the first full-time replacement host in October.\u003c/p>\n\u003cp>“I thought that the show should press the restart and not try to replicate what it has evolved into,” Keillor explained, “but go back to the beginning and revive itself as a music show with comedy add-ons.”\u003c/p>\n\u003cp>Some things won’t change, Keillor and Thile say. The show’s name will remain \u003cem>A Prairie Home Companion\u003c/em> (for now), its home base will stay at the 1,000-seat, elegantly restored Fitzgerald Theater in downtown St. Paul, and the live show will keep its two-hour Saturday evening time slot. Keillor says he will remain as executive producer and “a remote, benevolent gray eminence who phones in his thoughts every so often.”\u003c/p>\n\u003cp>“Garrison created a template that I think is immortal,” an effervescent Thile said during a recent interview on the Fitzgerald stage. “It doesn’t feel like any kind of constraint. It’s like a license. I feel like I have my license to go and make some good radio.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if the shows Thile guest-hosted in January and February are any indication, listeners can expect a hipper batch of musical performers. Singer-songwriter Ben Folds, alt-country singer Brandi Carlile, multi-instrumentalist and whistler Andrew Bird and Paul Simon — perhaps the biggest musical name to ever perform on “Prairie Home” — were among the guests. Thile just had to pick up the phone and see if Simon was available.\u003c/p>\n\u003cp>Keillor praises Thile’s musical connections as well as his respect for old-time bluegrass music.\u003c/p>\n\u003cp>“It seems to me if anybody was meant to host and produce a musical variety show that has real intensity and integrity, it’s him,” Keillor said in a telephone interview.\u003c/p>\n\u003cp>At 35, Thile is three years older than when Keillor, now 73, started the show in 1974. The sandy-haired singer gushes when talking about succeeding Keillor.\u003c/p>\n\u003cp>“The prospect of getting to make things for people on a weekly basis … is beyond compare. It’s what I love to do,” said Thile, who began listening to “Prairie Home” as a boy. Thile was 15 when he made his first appearance on the show in 1996 and has made a dozen or more visits since then.\u003c/p>\n\u003cp>Instead of Keillor’s weekly monologue about Norwegian bachelor farmers and other residents of his fictional hometown of Lake Wobegon, Thile plans to write a new song every week that may take into account who is on the show. “Prairie Home” pianist and composer Richard Dworsky will remain, and Thile plans to bring back regular performers Tim Russell, Sue Scott and sound-effects guy Fred Newman but perhaps pair them with guest actors or comedians.\u003c/p>\n\u003cp>“Prairie Home” undoubtedly will lose its Minnesota worldview with Anoka native Keillor gone. Thile was born in San Diego, grew up in Idyllwild in the San Jacinto mountains of Southern California and has lived in Kentucky; Nashville, Tennessee; San Francisco and New York. He now lives in Portland, Oregon, with his wife, actress Claire Coffee of the TV show \u003cem>Grimm\u003c/em>, and their young son. Thile plans to stay in Portland, where \u003cem>Grimm\u003c/em> is filmed, and commute for “Prairie Home.”\u003c/p>\n\u003cp>Thile said the new “Prairie Home” will reflect “the increasingly diffuse experience that most people have.”\u003c/p>\n\u003cp>Keillor will tape his final “Prairie Home” on July 1 at the Hollywood Bowl for broadcast the following day in its regular time slot. Thile makes his debut as replacement host Oct. 15 at the Fitzgerald. A 13-show season is planned at first, about half a normal 26-show run.\u003c/p>\n\u003cp>A big part of the show’s revenue comes from stations that pay to carry it. Bill Thomas, director of radio for Prairie Public Broadcasting in North Dakota, said he plans to sign up for the new season to give Thile a chance.\u003c/p>\n\u003cp>“I suspect a lot of people will say they don’t like it, it’s not Garrison Keillor,” Thomas said. “Of course it won’t be. We’ll just have to see.”\u003c/p>\n\u003cp>Both Thile and Keillor say public radio stations need to rally around the new show. “Prairie Home” has a weekly audience of more than 3.5 million listeners on 700 public radio stations in the U.S. When Keillor originally tried to retire in 1987, a substitute show, \u003cem>Good Evening\u003c/em>, hosted by Noah Adams of public radio’s \u003cem>All Things Considered\u003c/em>, lasted just a year.\u003c/p>\n\u003cp>“I think (“Prairie Home”) needs to be handed off to somebody and not just go into rerun purgatory,” Keillor said. “I really think this guy (Thile) brings something to public radio that public radio needs.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Photo Gallery: Voguing Workshop Participants Strike A Pose",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cspan style=\"font-weight: 400\">Voguing is a type of dance inspired by the poses found on the pages of Vogue Magazine. It was popularized by queer people of color in the 1960s and 70s. “It was an outlet for people in the community to come together, to have a safe sanctuary, to have a safe place” says Joquese Whitfield, a dancer and instructor who teaches voguing at \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a> in San Francisco .\u003c/span>\u003c/p>\n\u003cp>Whitfield says there are five elements of voguing: cat walk, duck walk, spins, dips and hands. The cat walk is a stylized sashay, in which you step on the balls of your feet and swing the hips deeply. The duck walk is squatted foot kicking movements, very similar to the Russian kick. Dips involve dropping to the floor, often with one leg back and one pointing outstretched. The hands constantly in motion with big sweeping motions or quick lyrical movements.\u003c/p>\n\u003cp>\u003cstrong>Watch a video featuring the core five voguing moves:\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How to Vogue with Jocquese Whitfield\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/6lyUvaaxWRY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Taking moves from the studio to the street\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a recent voguing workshop, heavy beats streamed out of the speakers as the students whipped their hands about at sharp angles, dropping to the floor and then strutting across the studio. Michaela Taylor was one of the students at Dance Mission Theater that day. “I’m very small, maybe five feet tall, but voguing makes me feel big!” Taylor says. “I love it. Joquese tells us that voguing is about self love, and self love is the best love. That really stuck with me.”\u003c/p>\n\u003cp>Taylor says voguing helps her overcome challenges. “I have my moments when I’m shy,” Taylor says. “When I get uncomfortable in situations I’ll just start dancing, so I can be less uncomfortable.” Although she practices at the studio, she has integrated voguing into her everyday life. “When I’m waiting on a bus or something, I’ll put in my headphones and start dancing. People will start staring at me, and I look at them like, yeah, I’m dancing.”\u003c/p>\n\u003cp>\u003cstrong>Into the mainstream\u003c/strong>\u003c/p>\n\u003cp>Voguing has gone from the underground to the mainstream. “Now you can see voguing in today’s music videos from Beyonce to Britney Spears,” Whitfield says. “People from different areas of the world vogue differently from each other but everyone has the same elements.” says Whitfield.\u003c/p>\n\u003cp>“Vogue is a dance form,” Whitfield says. “But not only is it a dance form, it’s a way of life. It’s a culture.”\u003c/p>\n\u003cfigure id=\"attachment_11470441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470441 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0396-800x533.jpg\" alt=\"IMG_0396\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Voguing at Dance Mission Theater in San Francisco. From Left to right: Rashad Pridgen, Jessica Recinos, Michaela Taylor and Johnny Nguyen. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470436\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470436 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0516-800x533.jpg\" alt=\"IMG_0516\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Michaela Taylor, Jessica Recinos, Johnny Nguyen and Rashad Pridgen freestyle (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470438\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470438 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0455-800x533.jpg\" alt=\"IMG_0455\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Jessica Recinos practicing her floor work (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470432\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470432 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0585-800x533.jpg\" alt=\"IMG_0585\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Posing at the Dance Mission Theater (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470427\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470427 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0597-800x533.jpg\" alt=\"IMG_0597\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">“I’m not afraid to get in front of the camera anymore” says Michaela Taylor (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470426\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470426 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0655-800x533.jpg\" alt=\"IMG_0655\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">The class took it outside the studio to Mission and 16th (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470425\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470425 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-800x490.jpg\" alt=\"IMG_0771\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-400x245.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-1180x723.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-960x588.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947.jpg 1574w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Michaela Taylor, Rashad Pridgen, Johnny Nguyen and Jessica Recinos. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Want to learn? Here are some Bay Area studios that’ll help you get started in the art of voguing:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.odcdance.org/press_genview.php?param=12¶m1=62\">ODC\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nTechnique classes at 7:30pm and a choreography class at 8:30pm every Thursday.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://clients.mindbodyonline.com/classic/home?studioid=15734\">Dance Mission Theater\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nClasses every Monday at 8pm, followed by “Slay Sessions”.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.newstylemotherlode.com/#!about1/c1wph\">New Style Motherload\u003c/a>, Oakland \u003c/strong>\u003cbr>\nHas occasional vogue classes; check schedule for update\u003c/p>\n\n",
"blocks": [],
"excerpt": "Find out what it's like to take a voguing class and watch a video about the five essential moves of the dance form",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cspan style=\"font-weight: 400\">Voguing is a type of dance inspired by the poses found on the pages of Vogue Magazine. It was popularized by queer people of color in the 1960s and 70s. “It was an outlet for people in the community to come together, to have a safe sanctuary, to have a safe place” says Joquese Whitfield, a dancer and instructor who teaches voguing at \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a> in San Francisco .\u003c/span>\u003c/p>\n\u003cp>Whitfield says there are five elements of voguing: cat walk, duck walk, spins, dips and hands. The cat walk is a stylized sashay, in which you step on the balls of your feet and swing the hips deeply. The duck walk is squatted foot kicking movements, very similar to the Russian kick. Dips involve dropping to the floor, often with one leg back and one pointing outstretched. The hands constantly in motion with big sweeping motions or quick lyrical movements.\u003c/p>\n\u003cp>\u003cstrong>Watch a video featuring the core five voguing moves:\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"How to Vogue with Jocquese Whitfield\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/6lyUvaaxWRY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Taking moves from the studio to the street\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a recent voguing workshop, heavy beats streamed out of the speakers as the students whipped their hands about at sharp angles, dropping to the floor and then strutting across the studio. Michaela Taylor was one of the students at Dance Mission Theater that day. “I’m very small, maybe five feet tall, but voguing makes me feel big!” Taylor says. “I love it. Joquese tells us that voguing is about self love, and self love is the best love. That really stuck with me.”\u003c/p>\n\u003cp>Taylor says voguing helps her overcome challenges. “I have my moments when I’m shy,” Taylor says. “When I get uncomfortable in situations I’ll just start dancing, so I can be less uncomfortable.” Although she practices at the studio, she has integrated voguing into her everyday life. “When I’m waiting on a bus or something, I’ll put in my headphones and start dancing. People will start staring at me, and I look at them like, yeah, I’m dancing.”\u003c/p>\n\u003cp>\u003cstrong>Into the mainstream\u003c/strong>\u003c/p>\n\u003cp>Voguing has gone from the underground to the mainstream. “Now you can see voguing in today’s music videos from Beyonce to Britney Spears,” Whitfield says. “People from different areas of the world vogue differently from each other but everyone has the same elements.” says Whitfield.\u003c/p>\n\u003cp>“Vogue is a dance form,” Whitfield says. “But not only is it a dance form, it’s a way of life. It’s a culture.”\u003c/p>\n\u003cfigure id=\"attachment_11470441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470441 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0396-800x533.jpg\" alt=\"IMG_0396\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Voguing at Dance Mission Theater in San Francisco. From Left to right: Rashad Pridgen, Jessica Recinos, Michaela Taylor and Johnny Nguyen. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470436\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470436 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0516-800x533.jpg\" alt=\"IMG_0516\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Michaela Taylor, Jessica Recinos, Johnny Nguyen and Rashad Pridgen freestyle (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470438\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470438 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0455-800x533.jpg\" alt=\"IMG_0455\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Jessica Recinos practicing her floor work (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470432\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470432 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0585-800x533.jpg\" alt=\"IMG_0585\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Posing at the Dance Mission Theater (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470427\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470427 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0597-800x533.jpg\" alt=\"IMG_0597\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">“I’m not afraid to get in front of the camera anymore” says Michaela Taylor (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470426\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470426 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0655-800x533.jpg\" alt=\"IMG_0655\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">The class took it outside the studio to Mission and 16th (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11470425\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11470425 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-800x490.jpg\" alt=\"IMG_0771\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-400x245.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-1180x723.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947-960x588.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/IMG_0771-e1459988630947.jpg 1574w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Michaela Taylor, Rashad Pridgen, Johnny Nguyen and Jessica Recinos. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Want to learn? Here are some Bay Area studios that’ll help you get started in the art of voguing:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.odcdance.org/press_genview.php?param=12¶m1=62\">ODC\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nTechnique classes at 7:30pm and a choreography class at 8:30pm every Thursday.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://clients.mindbodyonline.com/classic/home?studioid=15734\">Dance Mission Theater\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nClasses every Monday at 8pm, followed by “Slay Sessions”.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.newstylemotherlode.com/#!about1/c1wph\">New Style Motherload\u003c/a>, Oakland \u003c/strong>\u003cbr>\nHas occasional vogue classes; check schedule for update\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "illma-communication-naked-trump-portrait-on-display-in-london-gallery",
"title": "Illma Communication: Naked Trump Portrait on Display in London Gallery",
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"headTitle": "Illma Communication: Naked Trump Portrait on Display in London Gallery | KQED",
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"content": "\u003cp>The infamous “Donald Trump with a Micropenis” portrait, created by artist and Bay Area native Ashley “Illma” Gore, went on display at a gallery in London last week after she was unable to find a gallery in the U.S. to exhibit it.\u003c/p>\n\u003cp>Gore, who is based in Los Angeles but grew up in San Francisco and Australia, created the portrait titled “Make America Great Again” back in February of this year. She posted a picture of it on Facebook and it ended up being shared 50 million times in three days. It also led to her being \u003ca href=\"http://ww2.kqed.org/arts/2016/03/29/license-to-illma-naked-trump-portrait-gets-artist-banned-from-facebook-ebay/\" target=\"_blank\" rel=\"noopener\">banned from Facebook and eBay,\u003c/a> as well as being harassed and threatened online. \u003c/p>\n\u003cp>Apparently she’s been \u003ca href=\"https://www.facebook.com/tomfoolery.art/\" target=\"_blank\" rel=\"noopener\">allowed back on Facebook\u003c/a> because on April 9 she posted \u003ca href=\"https://www.facebook.com/ITVLondon/videos/10153511644687944/\" target=\"_blank\" rel=\"noopener\">a news report from ITV London\u003c/a> discussing how her piece is on display at the Maddox Gallery in London’s Mayfair area for the next two weeks. \u003c/p>\n\u003cp>“They reached out to me, despite all the controversy, and said, ‘We’d love to show it in London,’ which was a relief to me,” Gore told ITV London.\u003c/p>\n\u003cp>Questions about when Gore’s Facebook ban was lifted have not yet been returned. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The infamous “Donald Trump with a Micropenis” portrait, created by artist and Bay Area native Ashley “Illma” Gore, went on display at a gallery in London last week after she was unable to find a gallery in the U.S. to exhibit it.\u003c/p>\n\u003cp>Gore, who is based in Los Angeles but grew up in San Francisco and Australia, created the portrait titled “Make America Great Again” back in February of this year. She posted a picture of it on Facebook and it ended up being shared 50 million times in three days. It also led to her being \u003ca href=\"http://ww2.kqed.org/arts/2016/03/29/license-to-illma-naked-trump-portrait-gets-artist-banned-from-facebook-ebay/\" target=\"_blank\" rel=\"noopener\">banned from Facebook and eBay,\u003c/a> as well as being harassed and threatened online. \u003c/p>\n\u003cp>Apparently she’s been \u003ca href=\"https://www.facebook.com/tomfoolery.art/\" target=\"_blank\" rel=\"noopener\">allowed back on Facebook\u003c/a> because on April 9 she posted \u003ca href=\"https://www.facebook.com/ITVLondon/videos/10153511644687944/\" target=\"_blank\" rel=\"noopener\">a news report from ITV London\u003c/a> discussing how her piece is on display at the Maddox Gallery in London’s Mayfair area for the next two weeks. \u003c/p>\n\u003cp>“They reached out to me, despite all the controversy, and said, ‘We’d love to show it in London,’ which was a relief to me,” Gore told ITV London.\u003c/p>\n\u003cp>Questions about when Gore’s Facebook ban was lifted have not yet been returned. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "L.A. Stage Drama Journeys to the Heart of Child Immigrant Crisis",
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"content": "\u003cp>Sunrise is just starting to peak through the palm trees at Lincoln Park in East L.A. as a flatbed truck hauling a sky-blue shipping container pulls up at the edge of a dirt volleyball court. At 20 feet across and 8 feet tall, it’s the main set piece and stage for a play produced by the California Institute of the Arts called \"\u003ca href=\"http://centerfornewperformance.org/project/shelter/\">Shelter\u003c/a>.\"\u003c/p>\n\u003cp>“In a lot of ways, that shipping container is kind of an abstraction of a railroad car. But it's also this metaphor of a box where people are trapped, a box where people are kept and corralled, so it functions on a variety of levels,” says producer Mark Valdez.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/258066894\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The play, produced by the California Institute of the Arts, revolves around a band of teenage migrants as they make the journey north to the U.S. without parents or adult guardians.\u003c/p>\n\u003cp>“And it follows their journeys, from leaving their home countries, traveling through Mexico on ‘La Bestia’, the beast, which is what they call the train that crosses through the entirety of Mexico,” explains Valdez.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At an evening dress rehearsal earlier this week, young actors from CalArts run through the action under the watchful eye of veteran Mexico City-based stage director Martin Acosta.\u003c/p>\n\u003cfigure id=\"attachment_10924033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterDirector-800x520.jpg\" alt=\""Shelter" director Martin Acosta talks to actors before a recent rehearsal at L.A.'s Lincoln Park.\" width=\"800\" height=\"520\" class=\"size-medium wp-image-10924033\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-800x520.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-400x260.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-1180x768.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-960x625.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Shelter\" director Martin Acosta talks to actors before a recent rehearsal at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s actually my first experience outside, outdoors. I am learning,” laughs Acosta.\u003c/p>\n\u003cp>It’s a physical performance. Actors roll and tumble across the dust. They dance, sing, kick a soccer ball around and perch themselves atop that makeshift 8-foot train car.\u003c/p>\n\u003cp>“Actually, there is a train,” says Acosta, as a freighter rumbles along the Union Pacific rail line that runs by Lincoln Park’s southern tip. “It probably (will) come during the performance. I think it’s great.”\u003c/p>\n\u003cp>\"Shelter\" is being presented with no barriers between “the stage” and the day-day-day life of this largely Latino East L.A. neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_10924043\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10924043 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterSoccerBall-800x510.jpg\" alt=\"Actors rehearse for the play "Shelter" at L.A.'s Lincoln Park. \" width=\"800\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-800x510.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-400x255.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-1180x752.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-960x612.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors rehearse for the play 'Shelter' at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No tickets are required for the free performances. People can stay and watch the whole thing. Or just watch a few scenes as they pass through the park. During rehearsal, children on bicycles, joggers and dog walkers watch the drama unfold.\u003c/p>\n\u003cp>\"Shelter’s\" story is rooted in the mass migration of tens of thousands of young people who have crossed or tried crossing into the U.S. illegally over the last few years. The number of unaccompanied minors apprehended by U.S. authorities spiked in 2014, though thousands still risk the journey.\u003c/p>\n\u003cp>“In a way, they are looking for more than the American dream. They are looking for their families. And during the travel they are invisible because it's getting dangerous for them,” says Acosta\u003c/p>\n\u003cp>\"Shelter\" walks a fine line between drama and politics. In one scene three teenage girls confide their fears to one another while curled up on cots in a temporary federal holding facility.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"315\" src=\"http://www.hulu.com/embed.html?eid=g3jn8cyf0ynrvlt34nphka\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“Has anyone, you know, hurt you?” asks one girl.\u003c/p>\n\u003cp>“No, not here, we’re safe here,” says another.\u003c/p>\n\u003cp>“How do you know that?” wonders another.\u003c/p>\n\u003cp>In another scene the same actors adopt the voices and actual words of real-life pundits, politicians and activists.\u003c/p>\n\u003cp>“This crisis is Obama-made,” exclaims one.\u003c/p>\n\u003cp>“They have heard from all their friends and relatives that if they get to the U.S. all will be taken care of,” says another.\u003c/p>\n\u003cp>“We call that section, people circling the crisis from above,” says \"Shelter\" playwright \u003ca href=\"http://www.marissachibas.com/bio.html\">Marissa Chibas\u003c/a>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>“There's no question that we are wanting to let these kids' voices be heard and their personal stories to be revealed. And those are the stories that we’re not hearing enough of,” says Chibas. “About just how dangerous it is back home for some of these kids.”\u003c/p>\n\u003cfigure id=\"attachment_10924110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10924110 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterWhiteShirt-800x505.jpg\" alt=\"Actors rehearse for "Shelter" at L.A.'s Lincoln Park. \" width=\"800\" height=\"505\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-800x505.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-400x252.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-1180x744.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors rehearse for 'Shelter' at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chibas met and interviewed several young immigrants while writing the script. Many were fleeing poverty or murderous organized gangs. All are still living in the U.S., their immigration cases pending in federal court. Some of them also had a chance to meet and speak with the actors and check out a preview of \"Shelter.\"\u003c/p>\n\u003cp>“I don't think I've ever been more nervous for anything in my life than the night they were watching,” laughs Chibas. “But they recognized themselves and one of the young woman said: 'I feel represented.' And I felt like, OK, we’ve done our job.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After its run of performances at L.A.’s Lincoln Park wraps up next weekend, producers hope to take the play on the road to other cities across the U.S.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunrise is just starting to peak through the palm trees at Lincoln Park in East L.A. as a flatbed truck hauling a sky-blue shipping container pulls up at the edge of a dirt volleyball court. At 20 feet across and 8 feet tall, it’s the main set piece and stage for a play produced by the California Institute of the Arts called \"\u003ca href=\"http://centerfornewperformance.org/project/shelter/\">Shelter\u003c/a>.\"\u003c/p>\n\u003cp>“In a lot of ways, that shipping container is kind of an abstraction of a railroad car. But it's also this metaphor of a box where people are trapped, a box where people are kept and corralled, so it functions on a variety of levels,” says producer Mark Valdez.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/258066894&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/258066894'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The play, produced by the California Institute of the Arts, revolves around a band of teenage migrants as they make the journey north to the U.S. without parents or adult guardians.\u003c/p>\n\u003cp>“And it follows their journeys, from leaving their home countries, traveling through Mexico on ‘La Bestia’, the beast, which is what they call the train that crosses through the entirety of Mexico,” explains Valdez.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At an evening dress rehearsal earlier this week, young actors from CalArts run through the action under the watchful eye of veteran Mexico City-based stage director Martin Acosta.\u003c/p>\n\u003cfigure id=\"attachment_10924033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterDirector-800x520.jpg\" alt=\""Shelter" director Martin Acosta talks to actors before a recent rehearsal at L.A.'s Lincoln Park.\" width=\"800\" height=\"520\" class=\"size-medium wp-image-10924033\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-800x520.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-400x260.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-1180x768.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterDirector-960x625.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Shelter\" director Martin Acosta talks to actors before a recent rehearsal at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s actually my first experience outside, outdoors. I am learning,” laughs Acosta.\u003c/p>\n\u003cp>It’s a physical performance. Actors roll and tumble across the dust. They dance, sing, kick a soccer ball around and perch themselves atop that makeshift 8-foot train car.\u003c/p>\n\u003cp>“Actually, there is a train,” says Acosta, as a freighter rumbles along the Union Pacific rail line that runs by Lincoln Park’s southern tip. “It probably (will) come during the performance. I think it’s great.”\u003c/p>\n\u003cp>\"Shelter\" is being presented with no barriers between “the stage” and the day-day-day life of this largely Latino East L.A. neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_10924043\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10924043 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterSoccerBall-800x510.jpg\" alt=\"Actors rehearse for the play "Shelter" at L.A.'s Lincoln Park. \" width=\"800\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-800x510.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-400x255.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-1180x752.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterSoccerBall-960x612.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors rehearse for the play 'Shelter' at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No tickets are required for the free performances. People can stay and watch the whole thing. Or just watch a few scenes as they pass through the park. During rehearsal, children on bicycles, joggers and dog walkers watch the drama unfold.\u003c/p>\n\u003cp>\"Shelter’s\" story is rooted in the mass migration of tens of thousands of young people who have crossed or tried crossing into the U.S. illegally over the last few years. The number of unaccompanied minors apprehended by U.S. authorities spiked in 2014, though thousands still risk the journey.\u003c/p>\n\u003cp>“In a way, they are looking for more than the American dream. They are looking for their families. And during the travel they are invisible because it's getting dangerous for them,” says Acosta\u003c/p>\n\u003cp>\"Shelter\" walks a fine line between drama and politics. In one scene three teenage girls confide their fears to one another while curled up on cots in a temporary federal holding facility.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"315\" src=\"http://www.hulu.com/embed.html?eid=g3jn8cyf0ynrvlt34nphka\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“Has anyone, you know, hurt you?” asks one girl.\u003c/p>\n\u003cp>“No, not here, we’re safe here,” says another.\u003c/p>\n\u003cp>“How do you know that?” wonders another.\u003c/p>\n\u003cp>In another scene the same actors adopt the voices and actual words of real-life pundits, politicians and activists.\u003c/p>\n\u003cp>“This crisis is Obama-made,” exclaims one.\u003c/p>\n\u003cp>“They have heard from all their friends and relatives that if they get to the U.S. all will be taken care of,” says another.\u003c/p>\n\u003cp>“We call that section, people circling the crisis from above,” says \"Shelter\" playwright \u003ca href=\"http://www.marissachibas.com/bio.html\">Marissa Chibas\u003c/a>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>“There's no question that we are wanting to let these kids' voices be heard and their personal stories to be revealed. And those are the stories that we’re not hearing enough of,” says Chibas. “About just how dangerous it is back home for some of these kids.”\u003c/p>\n\u003cfigure id=\"attachment_10924110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10924110 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/ShelterWhiteShirt-800x505.jpg\" alt=\"Actors rehearse for "Shelter" at L.A.'s Lincoln Park. \" width=\"800\" height=\"505\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-800x505.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-400x252.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-1180x744.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/ShelterWhiteShirt-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors rehearse for 'Shelter' at L.A.'s Lincoln Park. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chibas met and interviewed several young immigrants while writing the script. Many were fleeing poverty or murderous organized gangs. All are still living in the U.S., their immigration cases pending in federal court. Some of them also had a chance to meet and speak with the actors and check out a preview of \"Shelter.\"\u003c/p>\n\u003cp>“I don't think I've ever been more nervous for anything in my life than the night they were watching,” laughs Chibas. “But they recognized themselves and one of the young woman said: 'I feel represented.' And I felt like, OK, we’ve done our job.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After its run of performances at L.A.’s Lincoln Park wraps up next weekend, producers hope to take the play on the road to other cities across the U.S.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kate Haug Unearths History of Poor People's Campaign in ‘News Today’",
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"content": "\u003cp>Forty-eight years ago today, on April 9, 1968, Martin Luther King, Jr.’s casket made a three-mile journey from Ebenezer Baptist Church in Atlanta, Georgia to a public service at Morehouse College. The \u003ca href=\"https://en.wikipedia.org/wiki/Poor_People%27s_Campaign\" target=\"_blank\" rel=\"noopener\">Poor People’s Campaign\u003c/a>, his unfinished project to unite the nation’s poor across racial lines, was about to begin.\u003c/p>\n\u003cp>In King’s absence, planning and organizing for the PPC continued under the leadership of Rev. Ralph Abernathy, but this movement for economic justice — a little-known aspect of King’s legacy — now sits on a forgotten shelf of history, relegated to memento sales on eBay.\u003c/p>\n\u003cp>Artist and filmmaker Kate Haug wants to refresh our collective memory.\u003c/p>\n\u003cfigure id=\"attachment_11477478\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200.jpg\" alt=\"Kate Haug, Catalog produced for 'News Today.'\" width=\"1200\" height=\"1178\" class=\"size-full wp-image-11477478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-611x600.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-1180x1158.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-960x942.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-75x75.jpg 75w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Catalog produced for ‘News Today.’ \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From April 9 to June 24, Haug’s project \u003ci>News Today: A History of the Poor People’s Campaign in Real Time\u003c/i> occupies the Outer Sunset storefront space \u003ca href=\"http://www.irvingstreetprojects.org/\" target=\"_blank\" rel=\"noopener\">Irving Street Projects\u003c/a> in the form of a deeply researched exhibition of historical visual materials. The small room is filled with framed documents, AP photos, models and reproductions tied to Resurrection City, the massive culmination of the PPC, a 3000-person, six-week-long encampment on the Washington Mall.\u003c/p>\n\u003cp>“My whole goal for the show is to reintroduce this information and recirculate it,” Haug says. She wants the PPC’s tactics and demands — for fair wages, access to health care and education and for the government’s attention to its most vulnerable population instead of a costly overseas war (Vietnam) — to show us the issues our nation faces today are part of an ongoing struggle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I find the images super inspiring because it makes me feel connected,” Haug says. “It makes me feel like this has been a project that people have been trying to work on and address for decades.”\u003c/p>\n\u003cfigure id=\"attachment_11477479\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200.jpg\" alt=\"Kate Haug, Install view of 'News Today' with model of Resurrection City on the Washington Mall.\" width=\"1200\" height=\"953\" class=\"size-full wp-image-11477479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-756x600.jpg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-1180x937.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-960x762.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Install view of ‘News Today’ with model of Resurrection City on the Washington Mall. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>News Today\u003c/i> functions as a visual timeline of the PPC — beginning with a black and white photograph of \u003ca href=\"https://en.wikipedia.org/wiki/Marian_Wright_Edelman\" target=\"_blank\" rel=\"noopener\">Marion Wright\u003c/a> testifying in 1967 about anti-poverty programs and ending with images of Resurrection City being bulldozed in 1968. Beneath each image in the show, Haug’s precise captions clearly detail the significance of a given historical moment.\u003c/p>\n\u003cp>“I’ve taken a lot of different texts from different sources to underline King’s message,” Haug says. “A lot of his economic message hasn’t been absorbed by general culture and I think it’s a real disservice to his legacy.”\u003c/p>\n\u003cp>The “people” of the campaign, recruited and trained in nonviolent protest by the \u003ca href=\"https://en.wikipedia.org/wiki/Southern_Christian_Leadership_Conference\" target=\"_blank\" rel=\"noopener\">Southern Christian Leadership Conference\u003c/a> (SCLC), came from the poorest parts of the US, many journeying by symbolic mule-led wagons to Washington, D.C.\u003c/p>\n\u003cfigure id=\"attachment_11477481\" class=\"wp-caption alignright\" style=\"max-width: 470px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200.jpg\" alt=\"'News Today' exhibition postcard.\" width=\"470\" height=\"640\" class=\"size-full wp-image-11477481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200-400x545.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200-441x600.jpg 441w\" sizes=\"(max-width: 470px) 100vw, 470px\">\u003cfigcaption class=\"wp-caption-text\">‘News Today’ exhibition postcard. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There, the PPC established 15 acres of plywood and tent housing, a town hall, a food program and sanitation and health facilities beside the Lincoln Memorial Reflecting Pool. Plagued by days of nonstop rain and muddy, damp conditions, the adults journeyed each day without fail to Capitol Hill, the agriculture and welfare departments, to lobby for their economic rights.\u003c/p>\n\u003cp>“We’re all in Washington to make ourselves visible to an America which denies that we exist,” said one white organizer in a June 13, 1968 \u003ci>Jet\u003c/i> magazine article.\u003c/p>\n\u003cp>Haug pays particular attention to the ways in which popular media depicted Resurrection City. A 1968 \u003ci>LIFE\u003c/i> magazine article called the encampment a “scar on the picture-postcard beauty of downtown Washington, D.C.”\u003c/p>\n\u003cp>This and other opinions of the day are available to exhibition visitors in faithful reproductions of \u003ci>Jet\u003c/i>, \u003ci>LIFE\u003c/i> and \u003ci>Look\u003c/i> magazines, printed by artist Raphael Villet for distribution at Haug’s show.\u003c/p>\n\u003cfigure id=\"attachment_11477480\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200.jpg\" alt=\"Kate Haug, Install view of 'News Today' with model of Resurrection City on the Washington Mall.\" width=\"1200\" height=\"841\" class=\"size-full wp-image-11477480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-1180x827.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-960x673.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Install view of ‘News Today’ with model of Resurrection City on the Washington Mall. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Haug’s retelling of the PPC, the emotional high point (positioned opposite a panoramic retelling of the emotional and physical devastation following King’s assassination) was Solidarity Day, held on June 19, 1968. Between 50,000 and 100,000 people gathered on the Washington Mall for talks by SCLC leaders, Native American activist Martha Grass and politician Eugene McCarthy.\u003c/p>\n\u003cp>Like any images of a mass social justice gathering, the pictures of Solidarity Day are powerfully optimistic, even today. But five days later, the demonstration’s National Park Service permit expired and Resurrection City “got bulldozed and forgotten,” says Haug. Certain gains were made by the campaign, but nothing at the scale and impact King intended with his “economic bill of rights.”\u003c/p>\n\u003cp>The artist hopes \u003ci>News Today\u003c/i>, filled to the brim with hours of reading material and hundreds of carefully selected images, will inspire visitors to become as passionate about this moment in history as she is. “Because so many people don’t know anything about this, I just wanted to have a forum for people to come in and read these texts,” say Haug.\u003c/p>\n\u003cp>She has no sense of ownership over the material she spend the last year gathering. “Take this information,” she says. “Please.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>News Today: A History of the Poor People’s Campaign in Real Time\u003c/b> opens April 9, 2-4pm and is on view through June 25 on Saturdays 1-5pm, and by appointment. For more information about a series of talks during the exhibition visit \u003ca href=\"http://www.irvingstreetprojects.org/current/\" target=\"_blank\" rel=\"noopener\">irvingstreetprojects.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "An exhibition charts a little-known aspect of Martin Luther King's legacy, a campaign for economic justice that took over the Washington Mall exactly 48 years ago.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Forty-eight years ago today, on April 9, 1968, Martin Luther King, Jr.’s casket made a three-mile journey from Ebenezer Baptist Church in Atlanta, Georgia to a public service at Morehouse College. The \u003ca href=\"https://en.wikipedia.org/wiki/Poor_People%27s_Campaign\" target=\"_blank\" rel=\"noopener\">Poor People’s Campaign\u003c/a>, his unfinished project to unite the nation’s poor across racial lines, was about to begin.\u003c/p>\n\u003cp>In King’s absence, planning and organizing for the PPC continued under the leadership of Rev. Ralph Abernathy, but this movement for economic justice — a little-known aspect of King’s legacy — now sits on a forgotten shelf of history, relegated to memento sales on eBay.\u003c/p>\n\u003cp>Artist and filmmaker Kate Haug wants to refresh our collective memory.\u003c/p>\n\u003cfigure id=\"attachment_11477478\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200.jpg\" alt=\"Kate Haug, Catalog produced for 'News Today.'\" width=\"1200\" height=\"1178\" class=\"size-full wp-image-11477478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-611x600.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-1180x1158.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-960x942.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-75x75.jpg 75w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Catalog produced for ‘News Today.’ \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From April 9 to June 24, Haug’s project \u003ci>News Today: A History of the Poor People’s Campaign in Real Time\u003c/i> occupies the Outer Sunset storefront space \u003ca href=\"http://www.irvingstreetprojects.org/\" target=\"_blank\" rel=\"noopener\">Irving Street Projects\u003c/a> in the form of a deeply researched exhibition of historical visual materials. The small room is filled with framed documents, AP photos, models and reproductions tied to Resurrection City, the massive culmination of the PPC, a 3000-person, six-week-long encampment on the Washington Mall.\u003c/p>\n\u003cp>“My whole goal for the show is to reintroduce this information and recirculate it,” Haug says. She wants the PPC’s tactics and demands — for fair wages, access to health care and education and for the government’s attention to its most vulnerable population instead of a costly overseas war (Vietnam) — to show us the issues our nation faces today are part of an ongoing struggle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I find the images super inspiring because it makes me feel connected,” Haug says. “It makes me feel like this has been a project that people have been trying to work on and address for decades.”\u003c/p>\n\u003cfigure id=\"attachment_11477479\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200.jpg\" alt=\"Kate Haug, Install view of 'News Today' with model of Resurrection City on the Washington Mall.\" width=\"1200\" height=\"953\" class=\"size-full wp-image-11477479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-756x600.jpg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-1180x937.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-960x762.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Install view of ‘News Today’ with model of Resurrection City on the Washington Mall. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>News Today\u003c/i> functions as a visual timeline of the PPC — beginning with a black and white photograph of \u003ca href=\"https://en.wikipedia.org/wiki/Marian_Wright_Edelman\" target=\"_blank\" rel=\"noopener\">Marion Wright\u003c/a> testifying in 1967 about anti-poverty programs and ending with images of Resurrection City being bulldozed in 1968. Beneath each image in the show, Haug’s precise captions clearly detail the significance of a given historical moment.\u003c/p>\n\u003cp>“I’ve taken a lot of different texts from different sources to underline King’s message,” Haug says. “A lot of his economic message hasn’t been absorbed by general culture and I think it’s a real disservice to his legacy.”\u003c/p>\n\u003cp>The “people” of the campaign, recruited and trained in nonviolent protest by the \u003ca href=\"https://en.wikipedia.org/wiki/Southern_Christian_Leadership_Conference\" target=\"_blank\" rel=\"noopener\">Southern Christian Leadership Conference\u003c/a> (SCLC), came from the poorest parts of the US, many journeying by symbolic mule-led wagons to Washington, D.C.\u003c/p>\n\u003cfigure id=\"attachment_11477481\" class=\"wp-caption alignright\" style=\"max-width: 470px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200.jpg\" alt=\"'News Today' exhibition postcard.\" width=\"470\" height=\"640\" class=\"size-full wp-image-11477481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200-400x545.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200-441x600.jpg 441w\" sizes=\"(max-width: 470px) 100vw, 470px\">\u003cfigcaption class=\"wp-caption-text\">‘News Today’ exhibition postcard. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There, the PPC established 15 acres of plywood and tent housing, a town hall, a food program and sanitation and health facilities beside the Lincoln Memorial Reflecting Pool. Plagued by days of nonstop rain and muddy, damp conditions, the adults journeyed each day without fail to Capitol Hill, the agriculture and welfare departments, to lobby for their economic rights.\u003c/p>\n\u003cp>“We’re all in Washington to make ourselves visible to an America which denies that we exist,” said one white organizer in a June 13, 1968 \u003ci>Jet\u003c/i> magazine article.\u003c/p>\n\u003cp>Haug pays particular attention to the ways in which popular media depicted Resurrection City. A 1968 \u003ci>LIFE\u003c/i> magazine article called the encampment a “scar on the picture-postcard beauty of downtown Washington, D.C.”\u003c/p>\n\u003cp>This and other opinions of the day are available to exhibition visitors in faithful reproductions of \u003ci>Jet\u003c/i>, \u003ci>LIFE\u003c/i> and \u003ci>Look\u003c/i> magazines, printed by artist Raphael Villet for distribution at Haug’s show.\u003c/p>\n\u003cfigure id=\"attachment_11477480\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200.jpg\" alt=\"Kate Haug, Install view of 'News Today' with model of Resurrection City on the Washington Mall.\" width=\"1200\" height=\"841\" class=\"size-full wp-image-11477480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-1180x827.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-960x673.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Install view of ‘News Today’ with model of Resurrection City on the Washington Mall. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Haug’s retelling of the PPC, the emotional high point (positioned opposite a panoramic retelling of the emotional and physical devastation following King’s assassination) was Solidarity Day, held on June 19, 1968. Between 50,000 and 100,000 people gathered on the Washington Mall for talks by SCLC leaders, Native American activist Martha Grass and politician Eugene McCarthy.\u003c/p>\n\u003cp>Like any images of a mass social justice gathering, the pictures of Solidarity Day are powerfully optimistic, even today. But five days later, the demonstration’s National Park Service permit expired and Resurrection City “got bulldozed and forgotten,” says Haug. Certain gains were made by the campaign, but nothing at the scale and impact King intended with his “economic bill of rights.”\u003c/p>\n\u003cp>The artist hopes \u003ci>News Today\u003c/i>, filled to the brim with hours of reading material and hundreds of carefully selected images, will inspire visitors to become as passionate about this moment in history as she is. “Because so many people don’t know anything about this, I just wanted to have a forum for people to come in and read these texts,” say Haug.\u003c/p>\n\u003cp>She has no sense of ownership over the material she spend the last year gathering. “Take this information,” she says. “Please.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>News Today: A History of the Poor People’s Campaign in Real Time\u003c/b> opens April 9, 2-4pm and is on view through June 25 on Saturdays 1-5pm, and by appointment. For more information about a series of talks during the exhibition visit \u003ca href=\"http://www.irvingstreetprojects.org/current/\" target=\"_blank\" rel=\"noopener\">irvingstreetprojects.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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