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"content": "\u003cp>The Fine Art Museums of San Francisco (FAMSF), which manages both the de Young and Legion of Honor museums, announced Tuesday that it hired a new director.\u003c/p>\n\u003cp>Austrian-born Max Hollein will be filling the organization’s top position starting June 3, according to the \u003ca href=\"http://www.sfgate.com/art/article/Frankfurt-museum-director-to-head-Fine-Arts-6969720.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>. Hollein currently lives in Germany, where he is director of three of the country’s notable museums: the Schirn Kunsthalle, Städel Museum and the Liebieghaus Sculpture Collection.\u003c/p>\n\u003cp>Hollein replaces former director Colin Bailey, who left in April last year for the director position at the Morgan Library & Museum in New York City, just two years after taking the FAMSF job. A 12-person committee, led by former Banana Republic president Jack Calhoun, spent the past year searching for Bailey’s replacement.\u003c/p>\n\u003cp>As director, Hollein will be in charge of 550 employees and an annual budget of $60 million, some of it supplied by the city.\u003c/p>\n\u003cp>To learn more about the hire, read the \u003ca href=\"http://www.famsf.org/press-room/fine-arts-museums-san-francisco-announce-director\" target=\"_blank\" rel=\"noopener\">FAMSF’s announcement online\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Fine Art Museums of San Francisco (FAMSF), which manages both the de Young and Legion of Honor museums, announced Tuesday that it hired a new director.\u003c/p>\n\u003cp>Austrian-born Max Hollein will be filling the organization’s top position starting June 3, according to the \u003ca href=\"http://www.sfgate.com/art/article/Frankfurt-museum-director-to-head-Fine-Arts-6969720.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>. Hollein currently lives in Germany, where he is director of three of the country’s notable museums: the Schirn Kunsthalle, Städel Museum and the Liebieghaus Sculpture Collection.\u003c/p>\n\u003cp>Hollein replaces former director Colin Bailey, who left in April last year for the director position at the Morgan Library & Museum in New York City, just two years after taking the FAMSF job. A 12-person committee, led by former Banana Republic president Jack Calhoun, spent the past year searching for Bailey’s replacement.\u003c/p>\n\u003cp>As director, Hollein will be in charge of 550 employees and an annual budget of $60 million, some of it supplied by the city.\u003c/p>\n\u003cp>To learn more about the hire, read the \u003ca href=\"http://www.famsf.org/press-room/fine-arts-museums-san-francisco-announce-director\" target=\"_blank\" rel=\"noopener\">FAMSF’s announcement online\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>First, let’s talk about one of the greatest entrances in all of hip-hop: A Tribe Called Quest’s “Buggin’ Out” begins with a single bass line, loping around a rootless, vague key, when the drums come in… \u003cem>on the two\u003c/em>? And Phife starts rapping to establish the downbeat… \u003cem>on the three\u003c/em>? We’re already disoriented. Phife sets us straight:\u003c/p>\n\u003cp>\u003cem>Microphone check, one two, what is this? / The five-foot assassin with the roughneck business\u003cbr />\nI float like gravity / never had a cavity / Got more rhymes than the Winans got family\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P9oTCzWRuvQ\u003c/p>\n\u003cp>We had arguments, my friends and I, over who delivered the better opening line: Q-Tip’s “\u003ca href=\"https://www.youtube.com/watch?v=NZWS6CITutY\" target=\"_blank\" rel=\"noopener noreferrer\">Back in the days when I was a teenager\u003c/a>” vs. Phife’s “Microphone check, one two, what is this.” We vacillated. We knew one thing, at least, in my circle of friends: if “Buggin’ Out” came on and you nailed the off-time entrance, you were good. Q-Tip’s lines may have \u003ca href=\"http://abmnewyork.blogspot.com/2008/07/tribe-called-quest-x-alife.html\" target=\"_blank\" rel=\"noopener noreferrer\">made T-shirts\u003c/a>, but Phife guides “Buggin’ Out” in all its lopsided glory. \u003ca href=\"http://ontheblockshop.tumblr.com/post/136667569371/styles-upon-styles-upon-styles-is-what-we-have\" target=\"_blank\" rel=\"noopener noreferrer\">Styles upon styles upon styles\u003c/a>, indeed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Phife Dawg, who \u003ca href=\"http://www.rollingstone.com/music/news/a-tribe-called-quests-phife-dawg-dead-at-45-20160323\" target=\"_blank\" rel=\"noopener noreferrer\">died\u003c/a> at the age of 45 at his home near Antioch, in Contra Costa County, was hip-hop royalty while still seeming like one of us. Q-Tip gets most of the credit for Tribe, of course, and he deserves plenty for finding Tribe’s samples, producing songs, crafting their structure. But whereas Tip was smooth, distant, impossibly cool, Phife was instantly relatable. He was \u003ca href=\"http://www.usatoday.com/story/life/entertainthis/2016/03/23/mac-miller-remembers-phife-dawg-new-song-5-foot-assassin/82156952/\" target=\"_blank\" rel=\"noopener noreferrer\">short\u003c/a>, he had \u003ca href=\"http://genius.com/67291\" target=\"_blank\" rel=\"noopener noreferrer\">diabetes\u003c/a>, he was a little insecure about \u003ca href=\"https://www.youtube.com/watch?v=d6OuoH7WDPI\" target=\"_blank\" rel=\"noopener noreferrer\">his crushes\u003c/a>, and all these things made his successes on the mic more exhilarating.\u003c/p>\n\u003cfigure id=\"attachment_11430606\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tribe.Check_-1180x1163.jpg\" alt=\"'Check the Rhime' 12", A Tribe Called Quest, 1993.\" width=\"640\" height=\"631\" class=\"size-large wp-image-11430606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-1180x1163.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-400x394.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-609x600.jpg 609w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-960x946.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">‘Check the Rhime’ 12″, A Tribe Called Quest, 1993.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a function of social media, in the wake of celebrity death, to don rose-colored glasses. But seeing hundreds of thousands of people \u003ca href=\"https://twitter.com/search?q=%23RIPPhife&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">type his lines into their phones\u003c/a> all over the world makes a case that \u003ca href=\"https://www.youtube.com/watch?v=F3PW2dXh0dk\" target=\"_blank\" rel=\"noopener noreferrer\">on the boulevard of Linden\u003c/a>, Phife owned the more memorable ones:\u003c/p>\n\u003cp>\u003cem>Now here’s a funky introduction of how nice I am\u003cbr />\nTell your mother, tell your father, send a telegram\u003c/em>\u003c/p>\n\u003cp>\u003cem>I like ’em brown, yellow, Puerto Rican or Haitian\u003cbr />\nName is Phife Dawg from the Zulu Nation\u003c/em>\u003c/p>\n\u003cp>\u003cem>I never half-step ’cause I’m not a half-stepper\u003cbr />\nDrink a lot of soda so they call me Dr. Pepper\u003c/em>\u003c/p>\n\u003cp>These lines are woven into the fabric of rap music, and for a certain generation of hip-hop fans, it’s impossible to think of Phife in any objective, non-personal way. (When my daughter was born and we brought her home from the hospital, \u003cem>The Low End Theory\u003c/em> was \u003ca href=\"https://www.instagram.com/p/BDTW80TySZs/\" target=\"_blank\" rel=\"noopener noreferrer\">the first album we played\u003c/a> for her.) He \u003ca href=\"https://www.youtube.com/watch?v=d6OuoH7WDPI\" target=\"_blank\" rel=\"noopener noreferrer\">used to have a crush on Dawn from En Vogue\u003c/a>. Who didn’t? Phife was your friend who got picked on in school, but who one day showed everyone just how smart and funny he was inside, and then nothing’s ever the same in your circle of friends since.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PTwKWV5Sx94\u003c/p>\n\u003cp>Whatever rift existed between Q-Tip and Phife, in the moments the two reunited – locally, at the Berkeley Community Theater in 2006, Outside Lands in 2009, or Rock the Bells in 2010 – Tribe brought simple unadulterated joy. When the two were split, it was a shame. For Phife, who spent his last years \u003ca href=\"http://www.eastbayexpress.com/oakland/phife-dawgs-triumphal-return/Content?oid=2043994\" target=\"_blank\" rel=\"noopener noreferrer\">living quietly\u003c/a> in Contra Costa County and battling diabetes, the extended hiatus must have been tough. The \u003ca href=\"http://www.sonyclassics.com/beatsrhymesandlife/\" target=\"_blank\" rel=\"noopener noreferrer\">uncomfortable documentary\u003c/a> about Tribe, with heaps of drama and little about their artistry, must have been tough. Seeing Q-Tip’s solo albums \u003ca href=\"http://www.metroactive.com/bohemian/12.24.08/music-0852.html\" target=\"_blank\" rel=\"noopener noreferrer\">top critic’s lists\u003c/a> must have been tough. I’ll echo what others are saying: I hope they made peace.\u003c/p>\n\u003cp>Why? Why do we care so much about those two being good with each other? People we never met? Because as confused kids ourselves, trying to \u003ca href=\"https://www.youtube.com/watch?v=qciFbvXaX3Q\" target=\"_blank\" rel=\"noopener noreferrer\">find our way\u003c/a>, the magic they made together told us that there was a better world. It could be attained out of nothing but our friends, our talent, our collective personalities and our close bond. And it could be expressed in the simplest of words:\u003c/p>\n\u003cp>\u003cem>You on point, Phife?\u003c/em>\u003c/p>\n\u003cp>\u003cem>All the time, Tip.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First, let’s talk about one of the greatest entrances in all of hip-hop: A Tribe Called Quest’s “Buggin’ Out” begins with a single bass line, loping around a rootless, vague key, when the drums come in… \u003cem>on the two\u003c/em>? And Phife starts rapping to establish the downbeat… \u003cem>on the three\u003c/em>? We’re already disoriented. Phife sets us straight:\u003c/p>\n\u003cp>\u003cem>Microphone check, one two, what is this? / The five-foot assassin with the roughneck business\u003cbr />\nI float like gravity / never had a cavity / Got more rhymes than the Winans got family\u003c/em>\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/P9oTCzWRuvQ'\n title='//www.youtube.com/embed/P9oTCzWRuvQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We had arguments, my friends and I, over who delivered the better opening line: Q-Tip’s “\u003ca href=\"https://www.youtube.com/watch?v=NZWS6CITutY\" target=\"_blank\" rel=\"noopener noreferrer\">Back in the days when I was a teenager\u003c/a>” vs. Phife’s “Microphone check, one two, what is this.” We vacillated. We knew one thing, at least, in my circle of friends: if “Buggin’ Out” came on and you nailed the off-time entrance, you were good. Q-Tip’s lines may have \u003ca href=\"http://abmnewyork.blogspot.com/2008/07/tribe-called-quest-x-alife.html\" target=\"_blank\" rel=\"noopener noreferrer\">made T-shirts\u003c/a>, but Phife guides “Buggin’ Out” in all its lopsided glory. \u003ca href=\"http://ontheblockshop.tumblr.com/post/136667569371/styles-upon-styles-upon-styles-is-what-we-have\" target=\"_blank\" rel=\"noopener noreferrer\">Styles upon styles upon styles\u003c/a>, indeed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Phife Dawg, who \u003ca href=\"http://www.rollingstone.com/music/news/a-tribe-called-quests-phife-dawg-dead-at-45-20160323\" target=\"_blank\" rel=\"noopener noreferrer\">died\u003c/a> at the age of 45 at his home near Antioch, in Contra Costa County, was hip-hop royalty while still seeming like one of us. Q-Tip gets most of the credit for Tribe, of course, and he deserves plenty for finding Tribe’s samples, producing songs, crafting their structure. But whereas Tip was smooth, distant, impossibly cool, Phife was instantly relatable. He was \u003ca href=\"http://www.usatoday.com/story/life/entertainthis/2016/03/23/mac-miller-remembers-phife-dawg-new-song-5-foot-assassin/82156952/\" target=\"_blank\" rel=\"noopener noreferrer\">short\u003c/a>, he had \u003ca href=\"http://genius.com/67291\" target=\"_blank\" rel=\"noopener noreferrer\">diabetes\u003c/a>, he was a little insecure about \u003ca href=\"https://www.youtube.com/watch?v=d6OuoH7WDPI\" target=\"_blank\" rel=\"noopener noreferrer\">his crushes\u003c/a>, and all these things made his successes on the mic more exhilarating.\u003c/p>\n\u003cfigure id=\"attachment_11430606\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tribe.Check_-1180x1163.jpg\" alt=\"'Check the Rhime' 12", A Tribe Called Quest, 1993.\" width=\"640\" height=\"631\" class=\"size-large wp-image-11430606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-1180x1163.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-400x394.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-609x600.jpg 609w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-960x946.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">‘Check the Rhime’ 12″, A Tribe Called Quest, 1993.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a function of social media, in the wake of celebrity death, to don rose-colored glasses. But seeing hundreds of thousands of people \u003ca href=\"https://twitter.com/search?q=%23RIPPhife&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">type his lines into their phones\u003c/a> all over the world makes a case that \u003ca href=\"https://www.youtube.com/watch?v=F3PW2dXh0dk\" target=\"_blank\" rel=\"noopener noreferrer\">on the boulevard of Linden\u003c/a>, Phife owned the more memorable ones:\u003c/p>\n\u003cp>\u003cem>Now here’s a funky introduction of how nice I am\u003cbr />\nTell your mother, tell your father, send a telegram\u003c/em>\u003c/p>\n\u003cp>\u003cem>I like ’em brown, yellow, Puerto Rican or Haitian\u003cbr />\nName is Phife Dawg from the Zulu Nation\u003c/em>\u003c/p>\n\u003cp>\u003cem>I never half-step ’cause I’m not a half-stepper\u003cbr />\nDrink a lot of soda so they call me Dr. Pepper\u003c/em>\u003c/p>\n\u003cp>These lines are woven into the fabric of rap music, and for a certain generation of hip-hop fans, it’s impossible to think of Phife in any objective, non-personal way. (When my daughter was born and we brought her home from the hospital, \u003cem>The Low End Theory\u003c/em> was \u003ca href=\"https://www.instagram.com/p/BDTW80TySZs/\" target=\"_blank\" rel=\"noopener noreferrer\">the first album we played\u003c/a> for her.) He \u003ca href=\"https://www.youtube.com/watch?v=d6OuoH7WDPI\" target=\"_blank\" rel=\"noopener noreferrer\">used to have a crush on Dawn from En Vogue\u003c/a>. Who didn’t? Phife was your friend who got picked on in school, but who one day showed everyone just how smart and funny he was inside, and then nothing’s ever the same in your circle of friends since.\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/PTwKWV5Sx94'\n title='//www.youtube.com/embed/PTwKWV5Sx94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Whatever rift existed between Q-Tip and Phife, in the moments the two reunited – locally, at the Berkeley Community Theater in 2006, Outside Lands in 2009, or Rock the Bells in 2010 – Tribe brought simple unadulterated joy. When the two were split, it was a shame. For Phife, who spent his last years \u003ca href=\"http://www.eastbayexpress.com/oakland/phife-dawgs-triumphal-return/Content?oid=2043994\" target=\"_blank\" rel=\"noopener noreferrer\">living quietly\u003c/a> in Contra Costa County and battling diabetes, the extended hiatus must have been tough. The \u003ca href=\"http://www.sonyclassics.com/beatsrhymesandlife/\" target=\"_blank\" rel=\"noopener noreferrer\">uncomfortable documentary\u003c/a> about Tribe, with heaps of drama and little about their artistry, must have been tough. Seeing Q-Tip’s solo albums \u003ca href=\"http://www.metroactive.com/bohemian/12.24.08/music-0852.html\" target=\"_blank\" rel=\"noopener noreferrer\">top critic’s lists\u003c/a> must have been tough. I’ll echo what others are saying: I hope they made peace.\u003c/p>\n\u003cp>Why? Why do we care so much about those two being good with each other? People we never met? Because as confused kids ourselves, trying to \u003ca href=\"https://www.youtube.com/watch?v=qciFbvXaX3Q\" target=\"_blank\" rel=\"noopener noreferrer\">find our way\u003c/a>, the magic they made together told us that there was a better world. It could be attained out of nothing but our friends, our talent, our collective personalities and our close bond. And it could be expressed in the simplest of words:\u003c/p>\n\u003cp>\u003cem>You on point, Phife?\u003c/em>\u003c/p>\n\u003cp>\u003cem>All the time, Tip.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Rapper Phife Dawg, of the iconic group Tribe Called Quest, is continuing to raise awareness around diabetes in his death, as he did in life, throughout his music career.\u003c/p>\n\u003cp>The rapper’s family confirmed Wednesday that \u003ca href=\"http://ww2.kqed.org/arts/2016/03/23/why-phife-mattered-remembering-hip-hops-relatable-mc/\" target=\"_blank\">Phife died at age 45\u003c/a> at his home near Antioch due to complications resulting from diabetes, sparking a wave of disease-related tributes on social media.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Rest in peace and poetry, Phife Dawg. We will continue the fight against Diabetes in your honor. \u003ca href=\"https://t.co/ofG6ATsq02\">pic.twitter.com/ofG6ATsq02\u003c/a>\u003c/p>\n\u003cp>— Youth Speaks (@youthspeaks) \u003ca href=\"https://twitter.com/youthspeaks/status/712686618096771072\">March 23, 2016\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>“Rest in peace and poetry, Phife Dawg. We will continue the fight against Diabetes in your honor,” Youth Speaks posted on Twitter.\u003c/p>\n\u003cp>Phife, born Malik Taylor, was diagnosed with diabetes when he was 19. It was May 1990, just one month after Tribe released its first album. Phife later talked about his struggle with the disease in interviews, and even rapped about it.\u003c/p>\n\u003cp>“Mr. Energetic, who me sound pathetic?/When’s the last time you heard a funky diabetic?” he rhymed in Tribe’s 1993 song “\u003ca href=\"http://genius.com/A-tribe-called-quest-oh-my-god-lyrics\" target=\"_blank\">Oh My God\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2010, Phife told the \u003ca href=\"http://www.eastbayexpress.com/oakland/phife-dawgs-triumphal-return/Content?oid=2043994\" target=\"_blank\">East Bay Express\u003c/a> that he was working on a solo album, \"Songs in the Key of Phife,\" though it was never released. Reporter David MacFadden-Elliott got to hear a few samples in the IHOP parking lot after the interview, including a song about diabetes called “God Send.”\u003c/p>\n\u003cblockquote>\u003cp>“[It’s] a three-part song that turns from a smooth love joint into a warning from a doctor: 'You got to start dialysis.' The news ushers in a discordant, claustrophobic, pulsing beat that rocks, while voice-mail messages of support play for minutes on end. The song concludes with an emotional verse of thanks: \u003cem>If it wasn't for y'all/Who knows what would have happened?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>It was a couple years after Phife’s initial diagnosis before he opened up about it, or even really took care of himself.\u003c/p>\n\u003cp>[contextly_sidebar id=\"TJXUTnoR8uufGFRG5wvhJikCbmLNY4hZ\"]His coming out was in a video interview on \u003ca href=\"http://www.dlife.com/dlifetv/video/phife-dawgs-dlife\" target=\"_blank\">dLife\u003c/a>, a website devoted to living with diabetes. He described finding out about his diagnosis. He was riding home from a concert in 1990 and kept asking the driver to pull over so he could go to the bathroom. He was really thirsty. When he got home, his grandmother, a nurse, did a test and confirmed he was diabetic.\u003c/p>\n\u003cp>“I thought it was over,” he told dLife. “I just automatically thought I was done rapping.”\u003c/p>\n\u003cp>He went into denial.\u003c/p>\n\u003cp>“I was just an idiot,” he said. “I still thought I was everybody else -- Twinkies, Suzie Qs, potato chips -- junk food anonymous.”\u003c/p>\n\u003cp>In 1992, Tribe was on \"The David Letterman Show\" and then immediately had to go to another shoot for \"The Dennis Miller Show.\" Pfife's blood sugar count was almost in the thousands -- normal levels are between 70 and 100.\u003c/p>\n\u003cp>“Everything was slow motion,” Phife described. “I couldn’t even do the show. I had to get hospitalized.”\u003c/p>\n\u003cp>Even then, he still struggled to get enough exercise and eat right.\u003c/p>\n\u003cp>“I’d get on the diet. Wouldn’t stick to the diet. Get back on diet, wouldn’t stick to the diet,” he said. “And it just got to point where I had to be put on dialysis.”\u003c/p>\n\u003cp>Phife was eventually put on a waiting list for a kidney transplant, and received one from his wife in 2008. By 2013, he was back on dialysis and back on the transplant list. In an interview with \u003ca href=\"http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=455764350&m=455936755\" target=\"_blank\">NPR\u003c/a> earlier this year, he talked about waiting for another kidney.\u003c/p>\n\u003cp>“I’m doing fine,” he said. “I really, really can’t complain. I could. But I won’t because God is really, really a good God.”\u003c/p>\n\u003cp>But he also had a message for other young people newly diagnosed with diabetes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not a game. You can lose your life because of this,” he said during the dLife interview. “You need to love yourself, love your life.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rapper Phife Dawg, of the iconic group Tribe Called Quest, is continuing to raise awareness around diabetes in his death, as he did in life, throughout his music career.\u003c/p>\n\u003cp>The rapper’s family confirmed Wednesday that \u003ca href=\"http://ww2.kqed.org/arts/2016/03/23/why-phife-mattered-remembering-hip-hops-relatable-mc/\" target=\"_blank\">Phife died at age 45\u003c/a> at his home near Antioch due to complications resulting from diabetes, sparking a wave of disease-related tributes on social media.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Rest in peace and poetry, Phife Dawg. We will continue the fight against Diabetes in your honor. \u003ca href=\"https://t.co/ofG6ATsq02\">pic.twitter.com/ofG6ATsq02\u003c/a>\u003c/p>\n\u003cp>— Youth Speaks (@youthspeaks) \u003ca href=\"https://twitter.com/youthspeaks/status/712686618096771072\">March 23, 2016\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>“Rest in peace and poetry, Phife Dawg. We will continue the fight against Diabetes in your honor,” Youth Speaks posted on Twitter.\u003c/p>\n\u003cp>Phife, born Malik Taylor, was diagnosed with diabetes when he was 19. It was May 1990, just one month after Tribe released its first album. Phife later talked about his struggle with the disease in interviews, and even rapped about it.\u003c/p>\n\u003cp>“Mr. Energetic, who me sound pathetic?/When’s the last time you heard a funky diabetic?” he rhymed in Tribe’s 1993 song “\u003ca href=\"http://genius.com/A-tribe-called-quest-oh-my-god-lyrics\" target=\"_blank\">Oh My God\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2010, Phife told the \u003ca href=\"http://www.eastbayexpress.com/oakland/phife-dawgs-triumphal-return/Content?oid=2043994\" target=\"_blank\">East Bay Express\u003c/a> that he was working on a solo album, \"Songs in the Key of Phife,\" though it was never released. Reporter David MacFadden-Elliott got to hear a few samples in the IHOP parking lot after the interview, including a song about diabetes called “God Send.”\u003c/p>\n\u003cblockquote>\u003cp>“[It’s] a three-part song that turns from a smooth love joint into a warning from a doctor: 'You got to start dialysis.' The news ushers in a discordant, claustrophobic, pulsing beat that rocks, while voice-mail messages of support play for minutes on end. The song concludes with an emotional verse of thanks: \u003cem>If it wasn't for y'all/Who knows what would have happened?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>It was a couple years after Phife’s initial diagnosis before he opened up about it, or even really took care of himself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>His coming out was in a video interview on \u003ca href=\"http://www.dlife.com/dlifetv/video/phife-dawgs-dlife\" target=\"_blank\">dLife\u003c/a>, a website devoted to living with diabetes. He described finding out about his diagnosis. He was riding home from a concert in 1990 and kept asking the driver to pull over so he could go to the bathroom. He was really thirsty. When he got home, his grandmother, a nurse, did a test and confirmed he was diabetic.\u003c/p>\n\u003cp>“I thought it was over,” he told dLife. “I just automatically thought I was done rapping.”\u003c/p>\n\u003cp>He went into denial.\u003c/p>\n\u003cp>“I was just an idiot,” he said. “I still thought I was everybody else -- Twinkies, Suzie Qs, potato chips -- junk food anonymous.”\u003c/p>\n\u003cp>In 1992, Tribe was on \"The David Letterman Show\" and then immediately had to go to another shoot for \"The Dennis Miller Show.\" Pfife's blood sugar count was almost in the thousands -- normal levels are between 70 and 100.\u003c/p>\n\u003cp>“Everything was slow motion,” Phife described. “I couldn’t even do the show. I had to get hospitalized.”\u003c/p>\n\u003cp>Even then, he still struggled to get enough exercise and eat right.\u003c/p>\n\u003cp>“I’d get on the diet. Wouldn’t stick to the diet. Get back on diet, wouldn’t stick to the diet,” he said. “And it just got to point where I had to be put on dialysis.”\u003c/p>\n\u003cp>Phife was eventually put on a waiting list for a kidney transplant, and received one from his wife in 2008. By 2013, he was back on dialysis and back on the transplant list. In an interview with \u003ca href=\"http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=455764350&m=455936755\" target=\"_blank\">NPR\u003c/a> earlier this year, he talked about waiting for another kidney.\u003c/p>\n\u003cp>“I’m doing fine,” he said. “I really, really can’t complain. I could. But I won’t because God is really, really a good God.”\u003c/p>\n\u003cp>But he also had a message for other young people newly diagnosed with diabetes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not a game. You can lose your life because of this,” he said during the dLife interview. “You need to love yourself, love your life.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the most tantalizing films I’ve ever seen is \u003cem>The Swimmer\u003c/em>, a surreal masterpiece from 1968 based on a John Cheever short story. It stars a middle-aged but still very buff and tan Burt Lancaster as a man who impulsively decides to swim home from a suburban summer garden party at a friend’s house by traversing all the many pools that lie between other people’s backyards and his own. As the afternoon unfolds, the bright, jovial atmosphere becomes broodingly autumnal, until our hero, exhausted in his Speedos after a series of unfortunate encounters and mishaps, finally arrives at his empty, derelict home.\u003c/p>\n\u003cp>Cheever’s chilly narrative, reimagined as a 41-minute ballet by company stalwart Yuri Possokhov, is the centerpiece of \u003cem>\u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">Sensorium\u003c/a>\u003c/em>, a splashy soiree of dance, music, food and booze organized by the San Francisco Ballet (SF Ballet) as a way to reel the millennial crowd into the War Memorial Opera House. The event did well last year, so it’s back again for a second iteration on Wednesday, Mar. 23.\u003c/p>\n\u003cfigure id=\"attachment_11428906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11428906\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg\" alt=\"Guests at SF Ballet's first Sensorium event in 2015\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1920x1262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guests at SF Ballet’s first Sensorium event in 2015 \u003ccite>(Photo Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The choice of Possokhov’s \u003cem>Swimmer\u003c/em> for this event makes sense: Of all the pieces in SF Ballet’s recent history, it’s likely to be one of the most impressive to a young, tech-savvy crowd. Waves of Tom Waits music and immersive video depicting mid-century scenes of suburban Americana sweep the dance along.\u003c/p>\n\u003cp>Beyond the proscenium, \u003cem>Sensorium\u003c/em> gives audiences the chance to experience various pop-up events. These aren’t the usual thing. There’s a pair of massive 30-foot-long crashing wave video projections, inspired by \u003cem>Swimmer, \u003c/em>that you can actually walk through because the video is projected onto “theatrical string” like a 70s-style beaded curtain.\u003c/p>\n\u003cp>And the art-tech company \u003ca href=\"http://teleportlabs.com/\" target=\"_blank\" rel=\"noopener\">Teleport Labs\u003c/a> has created a virtual reality film piece based on a snippets of a rehearsal of \u003cem>Pas/Parts\u003c/em> — that’s the other ballet on the evening’s performance program choreographed by William Forsythe — that apparently can be experienced without those goofy-looking glasses and helmets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also, fashion designer Lan Jaenicke is setting up a “mini-atelier” in the lobby of the opera house where she and her team plan to create instant couture gowns tailor-made for a few lucky audience members…out of bed sheets.\u003c/p>\n\u003cp>But here’s what I’m personally most excited about: Professionals from the company are joining audience members on the dance floor after the main performance. After all, it’s not every day you get to boogie on down with ballet stars like Yuan Yuan Tan and Mathilde Froustey.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Ballet presents \u003cem>Sensorium\u003c/em> on Wednesday, Mar. 23 at the War Memorial Opera House in San Francisco. Head \u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most tantalizing films I’ve ever seen is \u003cem>The Swimmer\u003c/em>, a surreal masterpiece from 1968 based on a John Cheever short story. It stars a middle-aged but still very buff and tan Burt Lancaster as a man who impulsively decides to swim home from a suburban summer garden party at a friend’s house by traversing all the many pools that lie between other people’s backyards and his own. As the afternoon unfolds, the bright, jovial atmosphere becomes broodingly autumnal, until our hero, exhausted in his Speedos after a series of unfortunate encounters and mishaps, finally arrives at his empty, derelict home.\u003c/p>\n\u003cp>Cheever’s chilly narrative, reimagined as a 41-minute ballet by company stalwart Yuri Possokhov, is the centerpiece of \u003cem>\u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">Sensorium\u003c/a>\u003c/em>, a splashy soiree of dance, music, food and booze organized by the San Francisco Ballet (SF Ballet) as a way to reel the millennial crowd into the War Memorial Opera House. The event did well last year, so it’s back again for a second iteration on Wednesday, Mar. 23.\u003c/p>\n\u003cfigure id=\"attachment_11428906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11428906\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg\" alt=\"Guests at SF Ballet's first Sensorium event in 2015\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1920x1262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guests at SF Ballet’s first Sensorium event in 2015 \u003ccite>(Photo Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The choice of Possokhov’s \u003cem>Swimmer\u003c/em> for this event makes sense: Of all the pieces in SF Ballet’s recent history, it’s likely to be one of the most impressive to a young, tech-savvy crowd. Waves of Tom Waits music and immersive video depicting mid-century scenes of suburban Americana sweep the dance along.\u003c/p>\n\u003cp>Beyond the proscenium, \u003cem>Sensorium\u003c/em> gives audiences the chance to experience various pop-up events. These aren’t the usual thing. There’s a pair of massive 30-foot-long crashing wave video projections, inspired by \u003cem>Swimmer, \u003c/em>that you can actually walk through because the video is projected onto “theatrical string” like a 70s-style beaded curtain.\u003c/p>\n\u003cp>And the art-tech company \u003ca href=\"http://teleportlabs.com/\" target=\"_blank\" rel=\"noopener\">Teleport Labs\u003c/a> has created a virtual reality film piece based on a snippets of a rehearsal of \u003cem>Pas/Parts\u003c/em> — that’s the other ballet on the evening’s performance program choreographed by William Forsythe — that apparently can be experienced without those goofy-looking glasses and helmets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also, fashion designer Lan Jaenicke is setting up a “mini-atelier” in the lobby of the opera house where she and her team plan to create instant couture gowns tailor-made for a few lucky audience members…out of bed sheets.\u003c/p>\n\u003cp>But here’s what I’m personally most excited about: Professionals from the company are joining audience members on the dance floor after the main performance. After all, it’s not every day you get to boogie on down with ballet stars like Yuan Yuan Tan and Mathilde Froustey.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Ballet presents \u003cem>Sensorium\u003c/em> on Wednesday, Mar. 23 at the War Memorial Opera House in San Francisco. Head \u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s \u003ca href=\"http://www.coltranechurch.org/\" target=\"_blank\" rel=\"noopener\">St. John Coltrane Church \u003c/a>dodged an eviction last month, but still faces the task of finding a permanent home.\u003c/p>\n\u003cp>[contextly_sidebar id=”uAXOWSyjhIgrqqKthoxyXPrd7Lmt6Bfw”]\u003c/p>\n\u003cp>Church leaders told KQED Tuesday that they’ll vacate their storefront location in the \u003ca href=\"http://www.westbaysf.org/\" target=\"_blank\" rel=\"noopener\">West Bay Conference Center \u003c/a>in the city’s Fillmore District, after services conclude on Sunday, April 24.\u003c/p>\n\u003cp>In return, an attorney for the landlord said in a statement it will dismiss the eviction action against the church.\u003c/p>\n\u003cp>Pastor Wanika King says the lifting of the eviction notice is hardly a victory for the church. “We still are faced with the very real reality of being homeless on the 30th,” King said in an interview Tuesday. “We’ll be couch surfing at that point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>King said the 48 year old church, known internationally for its devotion to Coltrane’s masterful album \u003cem>A Love Supreme,\u003c/em> is still looking for a temporary location to conduct services, but it’s begun a fundraising campaign on \u003ca href=\"https://www.generosity.com/community-fundraising/help-save-the-coltrane-church--2\" target=\"_blank\" rel=\"noopener\">Generosity.com\u003c/a> in hopes of purchasing its own space in the same neighborhood.\u003c/p>\n\u003cp>In their Generosity.com fundraising pitch, the “Coltrane Church” says it’s being forced out of its home because “The present political climate of profit over people continues to devastate the African American population of the Fillmore.”\u003c/p>\n\u003cp>In its statement to reporters, the West Bay Conference Center wrote that, “In a perfect world, we would provide that space at no cost. Unfortunately, however, West Bay operates in the same ruthless economy that has engulfed the entire Fillmore District.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Coltrane church has raised $7523, according to the Generosity.com website. King said the church hopes to raise a $1 million toward the purchase of a permanent space.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"http://www.coltranechurch.org/\" target=\"_blank\" rel=\"noopener\">St. John Coltrane Church \u003c/a>dodged an eviction last month, but still faces the task of finding a permanent home.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Church leaders told KQED Tuesday that they’ll vacate their storefront location in the \u003ca href=\"http://www.westbaysf.org/\" target=\"_blank\" rel=\"noopener\">West Bay Conference Center \u003c/a>in the city’s Fillmore District, after services conclude on Sunday, April 24.\u003c/p>\n\u003cp>In return, an attorney for the landlord said in a statement it will dismiss the eviction action against the church.\u003c/p>\n\u003cp>Pastor Wanika King says the lifting of the eviction notice is hardly a victory for the church. “We still are faced with the very real reality of being homeless on the 30th,” King said in an interview Tuesday. “We’ll be couch surfing at that point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King said the 48 year old church, known internationally for its devotion to Coltrane’s masterful album \u003cem>A Love Supreme,\u003c/em> is still looking for a temporary location to conduct services, but it’s begun a fundraising campaign on \u003ca href=\"https://www.generosity.com/community-fundraising/help-save-the-coltrane-church--2\" target=\"_blank\" rel=\"noopener\">Generosity.com\u003c/a> in hopes of purchasing its own space in the same neighborhood.\u003c/p>\n\u003cp>In their Generosity.com fundraising pitch, the “Coltrane Church” says it’s being forced out of its home because “The present political climate of profit over people continues to devastate the African American population of the Fillmore.”\u003c/p>\n\u003cp>In its statement to reporters, the West Bay Conference Center wrote that, “In a perfect world, we would provide that space at no cost. Unfortunately, however, West Bay operates in the same ruthless economy that has engulfed the entire Fillmore District.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Coltrane church has raised $7523, according to the Generosity.com website. King said the church hopes to raise a $1 million toward the purchase of a permanent space.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A tearful, beloved cartoon adventurer, Tintin, quickly emerged as a symbol of solidarity in the chaotic aftermath of the Brussels bombings as social media users worldwide took to Facebook and other Web streams for check ins by loved ones potentially in harm’s way.\u003c/p>\n\u003cp>On Twitter, on Instagram and elsewhere around the internet, the red-haired reporter in his signature trench coat with his white dog Snowy — the creations of Belgian cartoonist Herge — were shared as shocked and saddened versions of their usually indomitable and irrepressible selves.\u003c/p>\n\u003cp>Some cartoonists drew “too soon” criticism for depicting the stars of the comic series The \u003cem>Adventures of Tintin\u003c/em> — made into a movie in 2011 by Steven Spielberg — as bloodied and battered.\u003c/p>\n\u003cp>Others on social media borrowed from the January 2015 Charlie Hebdo tragedy, using the hashtag #JeSuisBruxelles, or “I am Brussels,” just as those after the Paris attacks did when spreading the sentiment “JeSuisCharlie.”\u003c/p>\n\u003cp>Facebook, meanwhile, activated its “safety check” system yet again to help Tuesday within hours of the three deadly explosions at the Brussels airport and a metro station.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The system can provide an easy way for people to mark themselves as “safe” after a major disaster or crisis so that people searching for them will know they are unharmed. It has been used recently to help people communicate after major floods, earthquakes and other deadly attacks.\u003c/p>\n\u003cp>Facebook first deployed the service after the 2011 Fukushima tsunami and nuclear disaster in Japan. The company said it is still “working through” how and when it should be used. It was activated six times last year, providing notifications to more than 950 million people.\u003c/p>\n\u003cp>The Tintin cartoon books have been translated into 70-plus languages, from Chinese to Armenian, English to Spanish, just as social media users are lending their languages and voices of outrage, fear, defiance and concern to the cacophony following the blasts in Brussels.\u003c/p>\n\u003cp>The books have sold in the tens of millions of copies, but only in Belgium has the fearless reporter and his dog been ingrained in the DNA of most youngsters since the 1950s. Herge died in 1983 and is considered a national treasure in his native Belgium.\u003c/p>\n\u003cp>A more popular version of the Tintin meme in response to the explosions has him shedding a single tear as he hovers over a newspaper with a headline about the explosions, pal Snowy shaking nearby. Tintin utters “Mon Dieu,” or “My God.”\u003c/p>\n\u003cp>Accompanying Tintin in the flood of social media sentiment were altered images of Manneken Pis, a bronze statue of a naked boy urinating into a fountain’s basin not far from Brussels Town Hall.\u003c/p>\n\u003cp>One showed the boy as a simple red line drawing against a black background as he urinated from on high onto a machine gun. Another had him doing the same on taped-together sticks of dynamite with the words: “Pis and Love,” a peace sign drawn into the letter o.\u003c/p>\n\u003cp>The boy, dating to around 1619, was created by Brussels sculptor Hieronimus Duquesnoy the Elder. He’s the father of sculptor François Duquesnoy. The statue has been repeatedly stolen and replaced. It is dressed in costumes on a regular weekly schedule, his wardrobe of several hundred outfits permanently housed in a museum.\u003c/p>\n\u003cp>Elsewhere around the Web, kind-hearted Belgians were tweeting offers of shelter to stranded travelers using the hashtag “PorteOuverte” or “OpenHouse” for non-French speakers. One in Antwerp threw in “food and Belgian beers for 1-3 people.”\u003c/p>\n\u003cp>Others taking to social media found comfort in sharing YouTube clips, photos and drawings of another famous figure in Belgium, singer-songwriter-actor Jacques Brel, who was known for his soothing ballads.\u003c/p>\n\u003cp>The straightforward hashtag “Brussels” continued with “JeSuisBruxelles” through the day on Twitter around the world, also accompanied by “PrayForBelgium.” Comment threads included “Tous Ensemble,” or “All Together,” but some social media users were more defiant.\u003c/p>\n\u003cp>An image of a cluster of Belgium’s famous “frites,” with one French fry standing above the others in a middle-finger salute, was accompanied by “I dont pray #jesuisbelge,” the latter for “I Am Belgian.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Raf Casert in Brussels and Brandon Bailey in San Francisco contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A tearful, beloved cartoon adventurer, Tintin, quickly emerged as a symbol of solidarity in the chaotic aftermath of the Brussels bombings as social media users worldwide took to Facebook and other Web streams for check ins by loved ones potentially in harm’s way.\u003c/p>\n\u003cp>On Twitter, on Instagram and elsewhere around the internet, the red-haired reporter in his signature trench coat with his white dog Snowy — the creations of Belgian cartoonist Herge — were shared as shocked and saddened versions of their usually indomitable and irrepressible selves.\u003c/p>\n\u003cp>Some cartoonists drew “too soon” criticism for depicting the stars of the comic series The \u003cem>Adventures of Tintin\u003c/em> — made into a movie in 2011 by Steven Spielberg — as bloodied and battered.\u003c/p>\n\u003cp>Others on social media borrowed from the January 2015 Charlie Hebdo tragedy, using the hashtag #JeSuisBruxelles, or “I am Brussels,” just as those after the Paris attacks did when spreading the sentiment “JeSuisCharlie.”\u003c/p>\n\u003cp>Facebook, meanwhile, activated its “safety check” system yet again to help Tuesday within hours of the three deadly explosions at the Brussels airport and a metro station.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The system can provide an easy way for people to mark themselves as “safe” after a major disaster or crisis so that people searching for them will know they are unharmed. It has been used recently to help people communicate after major floods, earthquakes and other deadly attacks.\u003c/p>\n\u003cp>Facebook first deployed the service after the 2011 Fukushima tsunami and nuclear disaster in Japan. The company said it is still “working through” how and when it should be used. It was activated six times last year, providing notifications to more than 950 million people.\u003c/p>\n\u003cp>The Tintin cartoon books have been translated into 70-plus languages, from Chinese to Armenian, English to Spanish, just as social media users are lending their languages and voices of outrage, fear, defiance and concern to the cacophony following the blasts in Brussels.\u003c/p>\n\u003cp>The books have sold in the tens of millions of copies, but only in Belgium has the fearless reporter and his dog been ingrained in the DNA of most youngsters since the 1950s. Herge died in 1983 and is considered a national treasure in his native Belgium.\u003c/p>\n\u003cp>A more popular version of the Tintin meme in response to the explosions has him shedding a single tear as he hovers over a newspaper with a headline about the explosions, pal Snowy shaking nearby. Tintin utters “Mon Dieu,” or “My God.”\u003c/p>\n\u003cp>Accompanying Tintin in the flood of social media sentiment were altered images of Manneken Pis, a bronze statue of a naked boy urinating into a fountain’s basin not far from Brussels Town Hall.\u003c/p>\n\u003cp>One showed the boy as a simple red line drawing against a black background as he urinated from on high onto a machine gun. Another had him doing the same on taped-together sticks of dynamite with the words: “Pis and Love,” a peace sign drawn into the letter o.\u003c/p>\n\u003cp>The boy, dating to around 1619, was created by Brussels sculptor Hieronimus Duquesnoy the Elder. He’s the father of sculptor François Duquesnoy. The statue has been repeatedly stolen and replaced. It is dressed in costumes on a regular weekly schedule, his wardrobe of several hundred outfits permanently housed in a museum.\u003c/p>\n\u003cp>Elsewhere around the Web, kind-hearted Belgians were tweeting offers of shelter to stranded travelers using the hashtag “PorteOuverte” or “OpenHouse” for non-French speakers. One in Antwerp threw in “food and Belgian beers for 1-3 people.”\u003c/p>\n\u003cp>Others taking to social media found comfort in sharing YouTube clips, photos and drawings of another famous figure in Belgium, singer-songwriter-actor Jacques Brel, who was known for his soothing ballads.\u003c/p>\n\u003cp>The straightforward hashtag “Brussels” continued with “JeSuisBruxelles” through the day on Twitter around the world, also accompanied by “PrayForBelgium.” Comment threads included “Tous Ensemble,” or “All Together,” but some social media users were more defiant.\u003c/p>\n\u003cp>An image of a cluster of Belgium’s famous “frites,” with one French fry standing above the others in a middle-finger salute, was accompanied by “I dont pray #jesuisbelge,” the latter for “I Am Belgian.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Raf Casert in Brussels and Brandon Bailey in San Francisco contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chuck Prophet Releases 'Alex Nieto,' New Song Written After Jury Verdict",
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"content": "\u003cp>Chuck Prophet simply did not know what to do.\u003c/p>\n\u003cp>He’d seen his city overrun with tech workers \u003ca href=\"http://sfist.com/2015/09/28/startup_doze_brings_nap_time_to_tir.php\" target=\"_blank\" rel=\"noopener\">babying themselves\u003c/a>, billionaires \u003ca href=\"http://www.nytimes.com/2015/10/23/business/media/airbnb-ads-flop-in-san-francisco.html?_r=0\" target=\"_blank\" rel=\"noopener\">passive-aggressively fighting regulation\u003c/a> and menus \u003ca href=\"http://sfist.com/2015/08/20/the_tk_best_pieces_of_toast_in_san.php\" target=\"_blank\" rel=\"noopener\">full of artisanal toast\u003c/a>. But when a jury decided that officers did not use excessive force in the killing of Alex Nieto — a killing involving between 48 and 59 bullets shot into his body — Prophet says, “I never dreamed I would be in the middle of a war. A real culture war.”\u003c/p>\n\u003cp>And so the San Francisco songwriter sat in his small SOMA studio with his friend, Kurt Lipschutz, and started strumming a single, minor-key chord. The words came to him from somewhere else, the song writing itself:\u003c/p>\n\u003cp>\u003cem>Alex Nieto was a pacifist / a 49ers fan\u003cbr>\nHe left for work one day at 4:15 / never made it home again\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/253966569″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>“Alex Nieto’s death is the result of gentrification,” Prophet told me Tuesday, two years after Nieto’s death, echoing a \u003ca href=\"http://www.theguardian.com/us-news/2016/mar/21/death-by-gentrification-the-killing-that-shamed-san-francisco\" target=\"_blank\" rel=\"noopener\">recent piece\u003c/a> by Rebecca Solnit that placed Nieto’s killing in the context of modern-day San Francisco. “It’s directly tied to someone feeling threatened by a 49ers jacket and thinking it represents a gang. What gang are we talking about? What gang goes after young white people walking their dog? That’s just ignorance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prophet has a personal stake in the changing face of his city — his 2012 album \u003cem>Temple Beautiful\u003c/em> served as a historic love letter to San Francisco. But like many other artists, he can’t find much that’s positive in the boom of the past few years.\u003c/p>\n\u003cp>“The real damage is when things come in waves. That’s when it really rolls over people, historically,” he says. “The first wave, when we first became Startup City USA, was really different. This time around, these young programmers, they’re not content to eat at the Olive Garden down in Cupertino. They want the cool stuff — they want Dolores Park, they want the food trucks. They want our culture. That’s the major difference.”\u003c/p>\n\u003cp>Not that Prophet, who recently organized an all-star concert at City Hall covering the city’s vast musical history, would cram his song for Alex Nieto with such context.\u003c/p>\n\u003cp>“With songs,” he says, “it’s not journalism. You wanna say as much as you can with as few words as possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://soundcloud.com/chuckprophet/alex-nieto-chuck-prophet\" target=\"_blank\" rel=\"noopener\">Listen to “Alex Nieto” here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chuck Prophet simply did not know what to do.\u003c/p>\n\u003cp>He’d seen his city overrun with tech workers \u003ca href=\"http://sfist.com/2015/09/28/startup_doze_brings_nap_time_to_tir.php\" target=\"_blank\" rel=\"noopener\">babying themselves\u003c/a>, billionaires \u003ca href=\"http://www.nytimes.com/2015/10/23/business/media/airbnb-ads-flop-in-san-francisco.html?_r=0\" target=\"_blank\" rel=\"noopener\">passive-aggressively fighting regulation\u003c/a> and menus \u003ca href=\"http://sfist.com/2015/08/20/the_tk_best_pieces_of_toast_in_san.php\" target=\"_blank\" rel=\"noopener\">full of artisanal toast\u003c/a>. But when a jury decided that officers did not use excessive force in the killing of Alex Nieto — a killing involving between 48 and 59 bullets shot into his body — Prophet says, “I never dreamed I would be in the middle of a war. A real culture war.”\u003c/p>\n\u003cp>And so the San Francisco songwriter sat in his small SOMA studio with his friend, Kurt Lipschutz, and started strumming a single, minor-key chord. The words came to him from somewhere else, the song writing itself:\u003c/p>\n\u003cp>\u003cem>Alex Nieto was a pacifist / a 49ers fan\u003cbr>\nHe left for work one day at 4:15 / never made it home again\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/253966569″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/253966569″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Alex Nieto’s death is the result of gentrification,” Prophet told me Tuesday, two years after Nieto’s death, echoing a \u003ca href=\"http://www.theguardian.com/us-news/2016/mar/21/death-by-gentrification-the-killing-that-shamed-san-francisco\" target=\"_blank\" rel=\"noopener\">recent piece\u003c/a> by Rebecca Solnit that placed Nieto’s killing in the context of modern-day San Francisco. “It’s directly tied to someone feeling threatened by a 49ers jacket and thinking it represents a gang. What gang are we talking about? What gang goes after young white people walking their dog? That’s just ignorance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prophet has a personal stake in the changing face of his city — his 2012 album \u003cem>Temple Beautiful\u003c/em> served as a historic love letter to San Francisco. But like many other artists, he can’t find much that’s positive in the boom of the past few years.\u003c/p>\n\u003cp>“The real damage is when things come in waves. That’s when it really rolls over people, historically,” he says. “The first wave, when we first became Startup City USA, was really different. This time around, these young programmers, they’re not content to eat at the Olive Garden down in Cupertino. They want the cool stuff — they want Dolores Park, they want the food trucks. They want our culture. That’s the major difference.”\u003c/p>\n\u003cp>Not that Prophet, who recently organized an all-star concert at City Hall covering the city’s vast musical history, would cram his song for Alex Nieto with such context.\u003c/p>\n\u003cp>“With songs,” he says, “it’s not journalism. You wanna say as much as you can with as few words as possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://soundcloud.com/chuckprophet/alex-nieto-chuck-prophet\" target=\"_blank\" rel=\"noopener\">Listen to “Alex Nieto” here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Moments after a Florida jury hit Gawker Media and its founder with $25 million in punitive damages for publishing a sex tape of Hulk Hogan, the former pro wrestler told a gaggle of reporters that he and his legal team “made history.”\u003c/p>\n\u003cp>Hogan said Monday evening that he thought “we’ve protected a lot of people from going through what I went through.”\u003c/p>\n\u003cp>The smiling 62-year-old, who wore all black throughout the three-week trial, added that he’s been overwhelmed with support by fans.\u003c/p>\n\u003cp>“Everywhere I show up, people treat me like I’m still the champ,” he said.\u003c/p>\n\u003cp>On Monday, the jury hit Gawker Media with a $15 million judgment and its owner, Nick Denton, with $10 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It also assessed $100,000 against A.J. Daulerio, the Gawker editor who decided to post the edited sex video and wrote the post that accompanied it.\u003c/p>\n\u003cp>The punitive damages come on top of $115 million the jury imposed Friday after two weeks of trial.\u003c/p>\n\u003cp>Hogan sued Gawker after it posted a video of him having sex with his then-best friend’s wife. Hogan said he didn’t know he was being taped.\u003c/p>\n\u003cp>The president and general counsel of Gawker Media said in a statement that the media company expects the multimillion dollar award will be overturned by an appeals court.\u003c/p>\n\u003cp>Heather Dietrick said in an email Monday night that because the jury was prohibited from knowing about “prior court rulings in favor of Gawker, prohibited from seeing critical evidence gathered by the FBI and prohibited from hearing from the most important witness, Bubba Clem,” that an appeals court could overturn the case.\u003c/p>\n\u003cp>“We are confident we will win this case ultimately based on not only on the law but also on the truth,” she said.\u003c/p>\n\u003cp>Hogan’s lawyer had asked jurors Monday to add punitive damages to the $115 million judgment. Gawker’s lawyer pleaded that the existing verdict was already “debilitating” for the company.\u003c/p>\n\u003cp>During brief closing arguments Monday, Hogan’s lawyer Kenneth Turkel said Gawker Media’s gross revenues in 2015 were $48.7 million and that founder Nick Denton has a total of $121 million, including a $3.6 million Manhattan condo. Gawker Media is worth $83 million, the lawyers said.\u003c/p>\n\u003cp>Daulerio, the editor, has no assets, the lawyers said. They said Daulerio has $27,000 in student loan debt.\u003c/p>\n\u003cp>Turkel had asked the jury to decide on a punitive amount as both punishment to Gawker and a deterrent to other media companies.\u003c/p>\n\u003cp>Jurors have “an ability to send a message,” Turkel said, adding that Gawker acted with reckless disregard when it posted an edited version of the sex video.\u003c/p>\n\u003cp>Michael Sullivan, representing Gawker, said, “The $115 million judgment “is punishment enough” and “is already far beyond their means.”\u003c/p>\n\u003cp>“The amount of that verdict could already be debilitating for Gawker Media,” Sullivan said.\u003c/p>\n\u003cp>“Your verdict will send a chill down the spine of writers, producers and publishers,” he added.\u003c/p>\n\u003cp>One juror, 35-year-old Salina Stevens, told reporters that watching the video posted by Gawker finally convinced her to find for Hogan.\u003c/p>\n\u003cp>“I believe his privacy was violated, and that’s not OK,” she said. “The video was worse than I expected … not so much the sex part of it but the conversation. I just feel like if he knew he was being videotaped, he would not have spoken about the things he spoke about.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It also assessed $100,000 against A.J. Daulerio, the Gawker editor who decided to post the edited sex video and wrote the post that accompanied it.\u003c/p>\n\u003cp>The punitive damages come on top of $115 million the jury imposed Friday after two weeks of trial.\u003c/p>\n\u003cp>Hogan sued Gawker after it posted a video of him having sex with his then-best friend’s wife. Hogan said he didn’t know he was being taped.\u003c/p>\n\u003cp>The president and general counsel of Gawker Media said in a statement that the media company expects the multimillion dollar award will be overturned by an appeals court.\u003c/p>\n\u003cp>Heather Dietrick said in an email Monday night that because the jury was prohibited from knowing about “prior court rulings in favor of Gawker, prohibited from seeing critical evidence gathered by the FBI and prohibited from hearing from the most important witness, Bubba Clem,” that an appeals court could overturn the case.\u003c/p>\n\u003cp>“We are confident we will win this case ultimately based on not only on the law but also on the truth,” she said.\u003c/p>\n\u003cp>Hogan’s lawyer had asked jurors Monday to add punitive damages to the $115 million judgment. Gawker’s lawyer pleaded that the existing verdict was already “debilitating” for the company.\u003c/p>\n\u003cp>During brief closing arguments Monday, Hogan’s lawyer Kenneth Turkel said Gawker Media’s gross revenues in 2015 were $48.7 million and that founder Nick Denton has a total of $121 million, including a $3.6 million Manhattan condo. Gawker Media is worth $83 million, the lawyers said.\u003c/p>\n\u003cp>Daulerio, the editor, has no assets, the lawyers said. They said Daulerio has $27,000 in student loan debt.\u003c/p>\n\u003cp>Turkel had asked the jury to decide on a punitive amount as both punishment to Gawker and a deterrent to other media companies.\u003c/p>\n\u003cp>Jurors have “an ability to send a message,” Turkel said, adding that Gawker acted with reckless disregard when it posted an edited version of the sex video.\u003c/p>\n\u003cp>Michael Sullivan, representing Gawker, said, “The $115 million judgment “is punishment enough” and “is already far beyond their means.”\u003c/p>\n\u003cp>“The amount of that verdict could already be debilitating for Gawker Media,” Sullivan said.\u003c/p>\n\u003cp>“Your verdict will send a chill down the spine of writers, producers and publishers,” he added.\u003c/p>\n\u003cp>One juror, 35-year-old Salina Stevens, told reporters that watching the video posted by Gawker finally convinced her to find for Hogan.\u003c/p>\n\u003cp>“I believe his privacy was violated, and that’s not OK,” she said. “The video was worse than I expected … not so much the sex part of it but the conversation. I just feel like if he knew he was being videotaped, he would not have spoken about the things he spoke about.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For more than 80 years, the UC Theatre was a crown jewel in downtown Berkeley. People flocked to the theater — which opened in 1917, boasting the largest screen west of the Mississippi — to see everything from 10-cent silent films in the ’20s to double features in the ’70s. (One of those attendees? Tom Hanks, who \u003ca href=\"http://www.filmcomment.com/article/a-blast-from-the-past-interview-with-tom-hanks/\" target=\"_blank\" rel=\"noopener\">later credited\u003c/a> the theater as key to his film education).\u003c/p>\n\u003cp>But in 2001, upon discovering the hundreds of thousands of dollars required to complete a seismic retrofit, its landlords closed the theater’s doors. It’s sat abandoned and dilapidated ever since — until March 25, when it’ll reopen as an \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">ambitious music venue\u003c/a> after a $6 million renovation.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/253889818″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>The theater’s revamp (now officially called the UC Theatre Taube Family Music Hall) is spearheaded by David Mayeri, who worked at Bill Graham Presents for 35 years and grew up in Berkeley — he fondly recalls seeing \u003cem>The Ten Commandments\u003c/em> at the theater as a child. Mayeri became intrigued by the space when the head of Berkeley’s economic development department approached him in 2007. “I walked into the room, one that I went to as a child,” Mayeri says, “and immediately pictured what it could look like as a music venue.”\u003c/p>\n\u003cfigure id=\"attachment_11168447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_.jpg\" alt=\"A rendering of the new UC Theatre Taube Family Music Hall.\" width=\"800\" height=\"405\" class=\"size-full wp-image-11168447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_-400x203.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_-768x389.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the new UC Theatre Taube Family Music Hall. \u003ccite>(Image: Robert Becker/UC Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayeri initially imagined the project as a for-profit venture aided by investors like Hardly Strictly Bluegrass founder Warren Hellman. But after Hellman’s death in 2011, Mayeri decided to restructure the theater as a nonprofit. “Instead of having a responsibility to investors, we now feel we have one to the community,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mayeri started unloading equipment at local Bay Area shows as a teen in the ’70s for $10 a pop, and eventually became Chief Operating Officer of Bill Graham Presents by the ‘90s — a somewhat unlikely career journey that he hopes to replicate for others. He’s created a \u003ca href=\"http://www.theuctheatre.org/education/concert-career-pathways/\" target=\"_blank\" rel=\"noopener\">program \u003c/a>where 17-25 year-olds can learn industry-relevant skills through workshops on everything from sound engineering to booking. Mayeri also plans to offer paid internships. The theater partners with groups in Richmond and Berkeley to diversify their applicant pool (five of the 10 people in the pilot program are from underserved communities), and Mayeri plans to regularly offer the space to nonprofits for fundraisers.\u003c/p>\n\u003cfigure id=\"attachment_11342150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11342150 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/edited.jpg\" alt=\"The UC Theater being built in 1916\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited-768x528.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The UC Theater being built in 1916. \u003ccite>(Berkeley Architectural Heritage Association )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such projects will be underwritten by the theater’s planned programming of 75-100 annual shows, with some of the booking in-house, some paired with concert giant Live Nation. In terms of their place along the Bay Area’s ladder of venues, Mayeri says people can expect “bands that you see at the Fillmore. Bands that have outgrown Slim’s, Great American Music Hall, the New Parish, we’re now in the East Bay for them to play. There is no venue of this size and type in the East Bay.”\u003c/p>\n\u003cp>He’s also incorporating what he calls “community programming” to broaden its audience to an older crowd maybe not as entranced by NOFX and Deerhunter (who both play the theater in April). They’ve already booked the Berkeley High Jazz band, and are hoping to secure classical, jazz and opera shows.\u003c/p>\n\u003cp>It’s a new direction for the theater, which had previously only served as a film venue. In addition to the historic parade of movies it showed — its \u003ca href=\"http://www.sfgate.com/bayarea/article/Not-Your-Parents-Rocky-Horror-Show-Teens-3000458.php\" target=\"_blank\" rel=\"noopener\">famous weekly showings\u003c/a> of \u003cem>The Rocky Horror Picture Show\u003c/em> are considered by many to be the country’s longest running — it served as the location for one of the film world’s most bizarre spectacles. Famous German director Werner Herzog had bet his friend, director Errol Morris, that he would eat his shoe if Morris ever finished his film \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Gates_of_Heaven\" target=\"_blank\" rel=\"noopener\">Gates of Heaven\u003c/a>\u003c/em>. At the film’s premiere at the UC Theatre, Herzog admitted defeat and ate the shoe (which Alice Waters had spent the day helping him boil and season at Chez Panisse).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CGcWTIWYDMQ\u003c/p>\n\u003cp>Mayeri says the theater will occasionally show movies, primarily as fundraising opportunities. The renovated space will hold 1,400 people, with flexible seating options for both general-admission standing and smaller table and chair shows. Unlike many theaters, which have to choose between acoustically equipping themselves for either rock music or classical shows, the theater will have sound systems for both — a traditional rock and roll sound system, and a Meyer Constellation, an elaborate series of speakers and microphones controlled by an iPad that the \u003cem>New Yorker\u003c/em> recently described as “\u003ca href=\"http://www.newyorker.com/magazine/2015/02/23/wizards-sound\" target=\"_blank\" rel=\"noopener\">the sonic equivalent of Photoshop\u003c/a>.”\u003c/p>\n\u003cp>It’s a good time to be investing in downtown Berkeley. A few years ago, the city passed the \u003ca href=\"http://www.ci.berkeley.ca.us/dap/\" target=\"_blank\" rel=\"noopener\">Downtown Area Plan \u003c/a>in 2012, paving the way for more and taller buildings downtown. As more San Franciscans move East, Berkeley appears eager to woo them with an increased amount of housing: \u003ca href=\"http://www.berkeleyside.com/2014/01/14/explosive-downtown-berkeley-housing-boom-underway/\" target=\"_blank\" rel=\"noopener\">there are plans\u003c/a> to build thousands of new housing units in the city’s downtown area over the next few years to cater to the influx of non-student residents.\u003c/p>\n\u003cfigure id=\"attachment_11342146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11342146\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/UCT-1917-2.jpg\" alt=\"The theater in 1917, the first year of its operation\" width=\"800\" height=\"929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-517x600.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-768x892.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The theater in 1917, the first year of its operation. \u003ccite>(Berkeley Architectural Heritage Association )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And much like the Fox Theater helped transform Oakland’s uptown neighborhood from a ghost town into a \u003cem>New York Times\u003c/em>-worthy tourist destination, Mayeri hopes that the theater will play a key role in downtown Berkeley’s revitalization, pointing to the potential thousands of concert attendees. “The first year will bring 120,000 plus new people into downtown Berkeley. We’re 1,400 capacity, so a show brings 1,400 people to downtown Berkeley, which will help restaurants and local businesses.”\u003c/p>\n\u003cp>And now, after years of working to bring a new concert hall to his hometown, Mayeri has just one simple goal: for it to finally be done.\u003c/p>\n\u003cp>“I’m excited to have construction be done and behind us,” he says. “The excitement for me is watching the artist come off the stage and say ‘Wow, that was a great show’, and watching the customers leave with a smile on their faces, saying, ‘This was a great experience.’”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The UC Theatre’s first slate of shows include They might Be Giants on March 25; Trombone Shorty on March 26; and the Dark Star Orchestra, NOFX, Deerhunter and Los Lobos scattered throughout April and May. For full details, see \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">the theatre’s site\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For more than 80 years, the UC Theatre was a crown jewel in downtown Berkeley. People flocked to the theater — which opened in 1917, boasting the largest screen west of the Mississippi — to see everything from 10-cent silent films in the ’20s to double features in the ’70s. (One of those attendees? Tom Hanks, who \u003ca href=\"http://www.filmcomment.com/article/a-blast-from-the-past-interview-with-tom-hanks/\" target=\"_blank\" rel=\"noopener\">later credited\u003c/a> the theater as key to his film education).\u003c/p>\n\u003cp>But in 2001, upon discovering the hundreds of thousands of dollars required to complete a seismic retrofit, its landlords closed the theater’s doors. It’s sat abandoned and dilapidated ever since — until March 25, when it’ll reopen as an \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">ambitious music venue\u003c/a> after a $6 million renovation.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/253889818″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/253889818″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The theater’s revamp (now officially called the UC Theatre Taube Family Music Hall) is spearheaded by David Mayeri, who worked at Bill Graham Presents for 35 years and grew up in Berkeley — he fondly recalls seeing \u003cem>The Ten Commandments\u003c/em> at the theater as a child. Mayeri became intrigued by the space when the head of Berkeley’s economic development department approached him in 2007. “I walked into the room, one that I went to as a child,” Mayeri says, “and immediately pictured what it could look like as a music venue.”\u003c/p>\n\u003cfigure id=\"attachment_11168447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_.jpg\" alt=\"A rendering of the new UC Theatre Taube Family Music Hall.\" width=\"800\" height=\"405\" class=\"size-full wp-image-11168447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_-400x203.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_-768x389.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the new UC Theatre Taube Family Music Hall. \u003ccite>(Image: Robert Becker/UC Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayeri initially imagined the project as a for-profit venture aided by investors like Hardly Strictly Bluegrass founder Warren Hellman. But after Hellman’s death in 2011, Mayeri decided to restructure the theater as a nonprofit. “Instead of having a responsibility to investors, we now feel we have one to the community,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mayeri started unloading equipment at local Bay Area shows as a teen in the ’70s for $10 a pop, and eventually became Chief Operating Officer of Bill Graham Presents by the ‘90s — a somewhat unlikely career journey that he hopes to replicate for others. He’s created a \u003ca href=\"http://www.theuctheatre.org/education/concert-career-pathways/\" target=\"_blank\" rel=\"noopener\">program \u003c/a>where 17-25 year-olds can learn industry-relevant skills through workshops on everything from sound engineering to booking. Mayeri also plans to offer paid internships. The theater partners with groups in Richmond and Berkeley to diversify their applicant pool (five of the 10 people in the pilot program are from underserved communities), and Mayeri plans to regularly offer the space to nonprofits for fundraisers.\u003c/p>\n\u003cfigure id=\"attachment_11342150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11342150 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/edited.jpg\" alt=\"The UC Theater being built in 1916\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited-768x528.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The UC Theater being built in 1916. \u003ccite>(Berkeley Architectural Heritage Association )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such projects will be underwritten by the theater’s planned programming of 75-100 annual shows, with some of the booking in-house, some paired with concert giant Live Nation. In terms of their place along the Bay Area’s ladder of venues, Mayeri says people can expect “bands that you see at the Fillmore. Bands that have outgrown Slim’s, Great American Music Hall, the New Parish, we’re now in the East Bay for them to play. There is no venue of this size and type in the East Bay.”\u003c/p>\n\u003cp>He’s also incorporating what he calls “community programming” to broaden its audience to an older crowd maybe not as entranced by NOFX and Deerhunter (who both play the theater in April). They’ve already booked the Berkeley High Jazz band, and are hoping to secure classical, jazz and opera shows.\u003c/p>\n\u003cp>It’s a new direction for the theater, which had previously only served as a film venue. In addition to the historic parade of movies it showed — its \u003ca href=\"http://www.sfgate.com/bayarea/article/Not-Your-Parents-Rocky-Horror-Show-Teens-3000458.php\" target=\"_blank\" rel=\"noopener\">famous weekly showings\u003c/a> of \u003cem>The Rocky Horror Picture Show\u003c/em> are considered by many to be the country’s longest running — it served as the location for one of the film world’s most bizarre spectacles. Famous German director Werner Herzog had bet his friend, director Errol Morris, that he would eat his shoe if Morris ever finished his film \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Gates_of_Heaven\" target=\"_blank\" rel=\"noopener\">Gates of Heaven\u003c/a>\u003c/em>. At the film’s premiere at the UC Theatre, Herzog admitted defeat and ate the shoe (which Alice Waters had spent the day helping him boil and season at Chez Panisse).\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/CGcWTIWYDMQ'\n title='//www.youtube.com/embed/CGcWTIWYDMQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mayeri says the theater will occasionally show movies, primarily as fundraising opportunities. The renovated space will hold 1,400 people, with flexible seating options for both general-admission standing and smaller table and chair shows. Unlike many theaters, which have to choose between acoustically equipping themselves for either rock music or classical shows, the theater will have sound systems for both — a traditional rock and roll sound system, and a Meyer Constellation, an elaborate series of speakers and microphones controlled by an iPad that the \u003cem>New Yorker\u003c/em> recently described as “\u003ca href=\"http://www.newyorker.com/magazine/2015/02/23/wizards-sound\" target=\"_blank\" rel=\"noopener\">the sonic equivalent of Photoshop\u003c/a>.”\u003c/p>\n\u003cp>It’s a good time to be investing in downtown Berkeley. A few years ago, the city passed the \u003ca href=\"http://www.ci.berkeley.ca.us/dap/\" target=\"_blank\" rel=\"noopener\">Downtown Area Plan \u003c/a>in 2012, paving the way for more and taller buildings downtown. As more San Franciscans move East, Berkeley appears eager to woo them with an increased amount of housing: \u003ca href=\"http://www.berkeleyside.com/2014/01/14/explosive-downtown-berkeley-housing-boom-underway/\" target=\"_blank\" rel=\"noopener\">there are plans\u003c/a> to build thousands of new housing units in the city’s downtown area over the next few years to cater to the influx of non-student residents.\u003c/p>\n\u003cfigure id=\"attachment_11342146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11342146\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/UCT-1917-2.jpg\" alt=\"The theater in 1917, the first year of its operation\" width=\"800\" height=\"929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-517x600.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-768x892.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The theater in 1917, the first year of its operation. \u003ccite>(Berkeley Architectural Heritage Association )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And much like the Fox Theater helped transform Oakland’s uptown neighborhood from a ghost town into a \u003cem>New York Times\u003c/em>-worthy tourist destination, Mayeri hopes that the theater will play a key role in downtown Berkeley’s revitalization, pointing to the potential thousands of concert attendees. “The first year will bring 120,000 plus new people into downtown Berkeley. We’re 1,400 capacity, so a show brings 1,400 people to downtown Berkeley, which will help restaurants and local businesses.”\u003c/p>\n\u003cp>And now, after years of working to bring a new concert hall to his hometown, Mayeri has just one simple goal: for it to finally be done.\u003c/p>\n\u003cp>“I’m excited to have construction be done and behind us,” he says. “The excitement for me is watching the artist come off the stage and say ‘Wow, that was a great show’, and watching the customers leave with a smile on their faces, saying, ‘This was a great experience.’”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The UC Theatre’s first slate of shows include They might Be Giants on March 25; Trombone Shorty on March 26; and the Dark Star Orchestra, NOFX, Deerhunter and Los Lobos scattered throughout April and May. For full details, see \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">the theatre’s site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>As part of our series \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Bay Curious\u003c/a>, we are answering questions from KQED listeners and readers. This one comes from San Francisco resident Amy Kistler.\u003c/em>\u003c/p>\n\u003cp>[dropcap]A[/dropcap]my Kistler has seen a man dancing on the 18th Street pedestrian overpass above Highway 101 in San Francisco for years. Her evening commutes from Emeryville back to the city are speckled with sightings of the dancing man, who always holds a large red heart in his hand.\u003c/p>\n\u003cp>\"Is he going to be there, is he not going to be there?\" Kistler regularly wonders as she crawls toward the overpass in rush-hour traffic.\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>It became a kind of game in her office, Kistler said. Her co-workers would share when they saw the dancing man, and try to guess what brought him up to the bridge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally stumped, Kistler asked Bay Curious, \"What's the story with the dancer on the 18th Street overpass?\"\u003c/p>\n\u003cfigure id=\"attachment_10901209\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/javonne-on-bridge.jpg\" alt=\"For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute.\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-10901209\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-960x540.jpg 960w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Man Behind The Dance Moves\u003c/h2>\n\u003cp>San Francisco native Javonne Hatfield, 23, started dancing at his family's church when he was 8 years old.\u003c/p>\n\u003cp>\"I was always dancing around and everyone was like, 'Why can't you stay still?' \" he says.\u003c/p>\n\u003cp>From that early age, his mother encouraged him to practice in the arts, and had him take part in musicals and plays at the Cosmopolitan Baptist Church in Ingleside. One day, he tried praise dance, a spiritual performance art done as a form of worship.\u003c/p>\n\u003cp>\"You paint your face white and you mime to inspirational music or gospel music,\" he explains. \u003c/p>\n\u003cp>It was an instant connection for Hatfield.\u003c/p>\n\u003cp>\"I always felt that there was this was unspoken power that comes over me when I participate in any kind of dance,\" he says. \"I would always get this very special feeling and think 'This is for me.'\"\u003c/p>\n\u003ch2>Dancing For Drivers\u003c/h2>\n\u003cp>Three years ago, Hatfield was at a difficult point in life. His mother had died four years earlier and he was going through some big life changes. \u003c/p>\n\u003cp>\"I was trying to figure out, 'What’s my purpose? Why am I here? What can I do at this point in time to get the negative energy out?'\" he says.\u003c/p>\n\u003cp>One evening, he walked out to a bridge over Highway 101 near his Portola district home and stared down at the cars crawling in traffic below him. He says he noticed how unhappy everybody looked -- how they were all focused on getting to their destination and not happy to be there.\u003c/p>\n\u003cp>On a whim, he threw up a peace sign at the drivers.\u003c/p>\n\u003cp>And it felt \u003cem>good\u003c/em>.\u003c/p>\n\u003cp>Quickly, an idea formed and before long Hatfield had returned to the bridge with a piece of cork board he'd cut into the shape of a heart and spray painted red. \u003c/p>\n\u003cp>Looking down at the cars, \"I got chills throughout my body, and I started shaking a little bit. I told myself don’t think about it,\" he says. \"Once I started dancing I could hear the car honks over the music and see people waving at me. That's when it stuck — this is what I need to do.\"\u003c/p>\n\u003cp>After a few location changes, and an upgrade on his heart-shaped prop, Hatfield settled into his regular spot on the pedestrian bridge near the Vermont Street exit. In a way, the bridge -- floating in front of an expansive view of San Francisco -- has been his unofficial stage for the last two and a half years.\u003c/p>\n\u003cfigure id=\"attachment_10900871\" class=\"wp-caption alignleft\" style=\"max-width: 480px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/bridgedance1.gif\" alt=\"Even when Hatfield is having a bad day, he works to brighten someone else's day. "It’s crazy because somehow it always works and makes my day better," he says.\" width=\"480\" height=\"270\" class=\"size-full wp-image-10900871\">\u003cfigcaption class=\"wp-caption-text\">Even when Hatfield is having a bad day, he works to brighten someone else's day. \"It’s crazy because somehow it always works and makes my day better,\" he says. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This particular location is like a gateway in and out of San Francisco,\" Hatfield explains. Drivers going nearly anywhere in the city will pass under him on their way in or out of town.\u003c/p>\n\u003cp>\"I believe what you put out is what you get back. So, I try to just give out good, give out good,\" he says. \"It's all about the love, and that's what my message is.\"\u003c/p>\n\u003cp>Hatfield says the dancing also makes him feel connected to his mother and God. He says a prayer every time before he dances.\u003c/p>\n\u003cp>\"My mom would give people chances if they messed up in life. She was always there for people and had a big heart to share with the community,\" he says. \"With me dancing, that’s my way to keep the love inside of me and share it with the world.\"\u003c/p>\n\u003cp>You can spot Hatfield on the 18th Street overpass during evening commute hours several days a week. If you do see him and wave, it's sure to bring a smile to his face.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Got a question you want KQED’s Bay Curious team to investigate?\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\"> Ask!\u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "Javonne Hatfield's message is simple: Spread love. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>As part of our series \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Bay Curious\u003c/a>, we are answering questions from KQED listeners and readers. This one comes from San Francisco resident Amy Kistler.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>my Kistler has seen a man dancing on the 18th Street pedestrian overpass above Highway 101 in San Francisco for years. Her evening commutes from Emeryville back to the city are speckled with sightings of the dancing man, who always holds a large red heart in his hand.\u003c/p>\n\u003cp>\"Is he going to be there, is he not going to be there?\" Kistler regularly wonders as she crawls toward the overpass in rush-hour traffic.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It became a kind of game in her office, Kistler said. Her co-workers would share when they saw the dancing man, and try to guess what brought him up to the bridge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally stumped, Kistler asked Bay Curious, \"What's the story with the dancer on the 18th Street overpass?\"\u003c/p>\n\u003cfigure id=\"attachment_10901209\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/javonne-on-bridge.jpg\" alt=\"For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute.\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-10901209\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-960x540.jpg 960w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Man Behind The Dance Moves\u003c/h2>\n\u003cp>San Francisco native Javonne Hatfield, 23, started dancing at his family's church when he was 8 years old.\u003c/p>\n\u003cp>\"I was always dancing around and everyone was like, 'Why can't you stay still?' \" he says.\u003c/p>\n\u003cp>From that early age, his mother encouraged him to practice in the arts, and had him take part in musicals and plays at the Cosmopolitan Baptist Church in Ingleside. One day, he tried praise dance, a spiritual performance art done as a form of worship.\u003c/p>\n\u003cp>\"You paint your face white and you mime to inspirational music or gospel music,\" he explains. \u003c/p>\n\u003cp>It was an instant connection for Hatfield.\u003c/p>\n\u003cp>\"I always felt that there was this was unspoken power that comes over me when I participate in any kind of dance,\" he says. \"I would always get this very special feeling and think 'This is for me.'\"\u003c/p>\n\u003ch2>Dancing For Drivers\u003c/h2>\n\u003cp>Three years ago, Hatfield was at a difficult point in life. His mother had died four years earlier and he was going through some big life changes. \u003c/p>\n\u003cp>\"I was trying to figure out, 'What’s my purpose? Why am I here? What can I do at this point in time to get the negative energy out?'\" he says.\u003c/p>\n\u003cp>One evening, he walked out to a bridge over Highway 101 near his Portola district home and stared down at the cars crawling in traffic below him. He says he noticed how unhappy everybody looked -- how they were all focused on getting to their destination and not happy to be there.\u003c/p>\n\u003cp>On a whim, he threw up a peace sign at the drivers.\u003c/p>\n\u003cp>And it felt \u003cem>good\u003c/em>.\u003c/p>\n\u003cp>Quickly, an idea formed and before long Hatfield had returned to the bridge with a piece of cork board he'd cut into the shape of a heart and spray painted red. \u003c/p>\n\u003cp>Looking down at the cars, \"I got chills throughout my body, and I started shaking a little bit. I told myself don’t think about it,\" he says. \"Once I started dancing I could hear the car honks over the music and see people waving at me. That's when it stuck — this is what I need to do.\"\u003c/p>\n\u003cp>After a few location changes, and an upgrade on his heart-shaped prop, Hatfield settled into his regular spot on the pedestrian bridge near the Vermont Street exit. In a way, the bridge -- floating in front of an expansive view of San Francisco -- has been his unofficial stage for the last two and a half years.\u003c/p>\n\u003cfigure id=\"attachment_10900871\" class=\"wp-caption alignleft\" style=\"max-width: 480px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/bridgedance1.gif\" alt=\"Even when Hatfield is having a bad day, he works to brighten someone else's day. "It’s crazy because somehow it always works and makes my day better," he says.\" width=\"480\" height=\"270\" class=\"size-full wp-image-10900871\">\u003cfigcaption class=\"wp-caption-text\">Even when Hatfield is having a bad day, he works to brighten someone else's day. \"It’s crazy because somehow it always works and makes my day better,\" he says. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This particular location is like a gateway in and out of San Francisco,\" Hatfield explains. Drivers going nearly anywhere in the city will pass under him on their way in or out of town.\u003c/p>\n\u003cp>\"I believe what you put out is what you get back. So, I try to just give out good, give out good,\" he says. \"It's all about the love, and that's what my message is.\"\u003c/p>\n\u003cp>Hatfield says the dancing also makes him feel connected to his mother and God. He says a prayer every time before he dances.\u003c/p>\n\u003cp>\"My mom would give people chances if they messed up in life. She was always there for people and had a big heart to share with the community,\" he says. \"With me dancing, that’s my way to keep the love inside of me and share it with the world.\"\u003c/p>\n\u003cp>You can spot Hatfield on the 18th Street overpass during evening commute hours several days a week. If you do see him and wave, it's sure to bring a smile to his face.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Got a question you want KQED’s Bay Curious team to investigate?\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\"> Ask!\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "audio-diary-11-year-old-graffiti-artists-passion-starts-with-street-signs",
"title": "Audio Diary: 11-Year-Old Graffiti Artist's Passion Starts with Street Signs",
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"headTitle": "Audio Diary: 11-Year-Old Graffiti Artist’s Passion Starts with Street Signs | KQED",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Cave is an 11-year-old graffiti writer in San Francisco. He wants to keep his identity secret, just like the graffiti masters.“They don’t want people to know who they are,” Cave says. “Sometimes they do illegal stuff, and you know, that could get you into trouble.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Cave talk about his graffiti habit:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/251862556″ 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>\u003cstrong>Early signs\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cave’s passion for graffiti started early. It began with signs. “I actually learned how to read through traffic signs, because I used to know what they said by heart, like \u003ci>\u003cspan style=\"font-weight: 400\">stop\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">one way\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and stuff.” When Cave saw lettering he liked, he would make his parents stop in the street so he could admire it. At home he made copies of the signs and pasted them onto cardboard. He loved signs so much that one Halloween he dressed up as the falling rock sign. There was also a period of time that he wore a reflective construction vest to school everyday.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11392375\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11392375 size-medium\" title=\"(Courtesy of Cave)\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1515842_1698342163724806_400933734_n-600x600.jpg\" alt=\"\" width=\"600\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Cave at an abandoned RC Cola Factory in Miami. Graffiti artists covered the factory for an event in conjunction with Art Basel. (Courtesy of Cave)\u003c/figcaption>\u003c/figure>\n\u003cp>A love of signage transitioned seamlessly into a love of graffiti. Cave has taken a handful of graffiti classes at school and at \u003ca href=\"http://1amsf.com/\" target=\"_blank\" rel=\"noopener\">1AM gallery\u003c/a>, an urban art organization in San Francisco and Oakland. Cave gives a lot of credit to his teachers for showing him the basics. While Cave’s been working on his lettering for years, he’s only been painting for two years because, he says, his hands were way too small. “It was really awkward and hard to hold a paint can,” Cave says.\u003c/p>\n\u003cfigure id=\"attachment_11392378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11392378 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-800x440.jpg\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-400x220.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cave’s name and crew, JPS. (Courtesy of Cave)\u003c/figcaption>\u003c/figure>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Right now, Cave mostly practices his art on a wall in his backyard. It’s covered with layers of paint about a centimeter thick. “I’ve probably painted it at least 50 times,” Cave says. “I usually draw everyday, but I just paint on the weekends because I’ve got to do my homework,” he says.\u003c/p>\n\u003cp>Cave further hones his craft by studying eye-catching murals by experienced artists around the Bay Area. One time, he spotted a painting by the great local graffiti artist Apex on a wall in Chinatown. Then he saw the artist himself. “We stopped and I said, hi, nice to meet you and stuff,” Cave says of the experience. “And now I’m going to intern with him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Learn the basics of graffiti lettering from graffiti art master Apexer and discover studios around the Bay Area \u003ca href=\"http://ww2.kqed.org/arts/2016/03/18/video-learn-graffiti-lettering-basics-from-apexer/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11409280\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11409280 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/924040_862928453750541_803528927_n-600x600.jpg\" alt=\"\" width=\"600\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">The artist painting his name (courtesy of Cave) \u003ccite>(Photo: Courtesy of Cave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"title": "Audio Diary: 11-Year-Old Graffiti Artist's Passion Starts with Street Signs | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Cave is an 11-year-old graffiti writer in San Francisco. He wants to keep his identity secret, just like the graffiti masters.“They don’t want people to know who they are,” Cave says. “Sometimes they do illegal stuff, and you know, that could get you into trouble.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Cave talk about his graffiti habit:\u003c/em>\u003c/strong>\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/251862556″&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/251862556″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Early signs\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cave’s passion for graffiti started early. It began with signs. “I actually learned how to read through traffic signs, because I used to know what they said by heart, like \u003ci>\u003cspan style=\"font-weight: 400\">stop\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">one way\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and stuff.” When Cave saw lettering he liked, he would make his parents stop in the street so he could admire it. At home he made copies of the signs and pasted them onto cardboard. He loved signs so much that one Halloween he dressed up as the falling rock sign. There was also a period of time that he wore a reflective construction vest to school everyday.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11392375\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11392375 size-medium\" title=\"(Courtesy of Cave)\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1515842_1698342163724806_400933734_n-600x600.jpg\" alt=\"\" width=\"600\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Cave at an abandoned RC Cola Factory in Miami. Graffiti artists covered the factory for an event in conjunction with Art Basel. (Courtesy of Cave)\u003c/figcaption>\u003c/figure>\n\u003cp>A love of signage transitioned seamlessly into a love of graffiti. Cave has taken a handful of graffiti classes at school and at \u003ca href=\"http://1amsf.com/\" target=\"_blank\" rel=\"noopener\">1AM gallery\u003c/a>, an urban art organization in San Francisco and Oakland. Cave gives a lot of credit to his teachers for showing him the basics. While Cave’s been working on his lettering for years, he’s only been painting for two years because, he says, his hands were way too small. “It was really awkward and hard to hold a paint can,” Cave says.\u003c/p>\n\u003cfigure id=\"attachment_11392378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11392378 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-800x440.jpg\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-400x220.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cave’s name and crew, JPS. (Courtesy of Cave)\u003c/figcaption>\u003c/figure>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Right now, Cave mostly practices his art on a wall in his backyard. It’s covered with layers of paint about a centimeter thick. “I’ve probably painted it at least 50 times,” Cave says. “I usually draw everyday, but I just paint on the weekends because I’ve got to do my homework,” he says.\u003c/p>\n\u003cp>Cave further hones his craft by studying eye-catching murals by experienced artists around the Bay Area. One time, he spotted a painting by the great local graffiti artist Apex on a wall in Chinatown. Then he saw the artist himself. “We stopped and I said, hi, nice to meet you and stuff,” Cave says of the experience. “And now I’m going to intern with him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Learn the basics of graffiti lettering from graffiti art master Apexer and discover studios around the Bay Area \u003ca href=\"http://ww2.kqed.org/arts/2016/03/18/video-learn-graffiti-lettering-basics-from-apexer/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11409280\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11409280 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/924040_862928453750541_803528927_n-600x600.jpg\" alt=\"\" width=\"600\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">The artist painting his name (courtesy of Cave) \u003ccite>(Photo: Courtesy of Cave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "singing-about-san-franciscos-mission-district-and-how-to-save-it",
"title": "Singing about San Francisco's Mission District, and How to Save It",
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"content": "\u003cp>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\">El\u003c/a>\u003cem>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\"> Son de la Misión\u003c/a>,\u003c/em> a new musical theater work, opens with a quote from an old Santana Latin rock number, and continues as a series of songs and stories highlighting 50 years of the Mission District’s history, from Latino enclave to hipster hangout. There’s doo-wop and soul, Latin jazz and salsa, rock \u003cem>en español\u003c/em>, and a rap track about the death of Mission and Bernal Heights native \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Alex Nieto,\u003c/a> killed by San Francisco police in 2014.\u003c/p>\n\u003cp>The Mission is at the center of the Bay Area’s growing fight over gentrification. And now the \u003ca href=\"http://sfcmc.org/?gclid=CNvyqqvGyMsCFZNgfgodC-QMbA\" target=\"_blank\" rel=\"noopener\">Community Music Center \u003c/a>(CMC), a Mission music school celebrating 95 years in the neighborhood, has commissioned a piece to tell some of that story. \u003cem>El Son de la Misión \u003c/em>plays at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/el-son-de-la-mision/#.VusSP-IrKJA\" target=\"_blank\" rel=\"noopener\">Brava Theater Saturday, Mar. 19 and Sunday, Mar. 20.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11414791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414791\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/006-800x495.jpg\" alt=\"Composer and music teacher John Calloway\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer and music teacher John Calloway \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like a ballad, it’s a narrative,” says \u003cem>El Son\u003c/em> composer and musician \u003ca href=\"https://www.facebook.com/johncallowaymusic/\" target=\"_blank\" rel=\"noopener\">John Calloway\u003c/a>. He’s been teaching music to Mission kids at CMC and in east side high schools for 30 years. And many of the 45 singers and musicians in the show have been his students.\u003c/p>\n\u003cp>“The piece is meant to be a neighborhood gathering,” says Community Music Center’s program director Sylvia Sherman. “You see four generations transmitting culture. It’s like a large family.”\u003c/p>\n\u003cp>That family shares its pride in its musical heritage and its grievances over the way the community has changed in the past decade. “This is the perfect time to tell this story because of gentrification,” Calloway says. “Maybe it’s too strong to use genocide, but there are things happening right now in the Mission that are very alarming.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>El Son\u003c/em> features bits of the neighborhood’s history, both cultural and political, written and performed by longtime \u003ca href=\"http://news.sfsu.edu/news/experts/carlos-baron\" target=\"_blank\" rel=\"noopener\">SF State Theater professor Carlos Baron\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11414795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-800x495.jpg\" alt=\"SF State Theater Professor Carlos Baron\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF State Theater Professor Carlos Baron \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point in the piece, Baron explains how he too has been displaced by high rents in the Mission (he’s moved to Daly City), then offers a half-joking olive branch to the tech community often blamed for gentrifying the neighborhood. “We have to dance, we have to do stuff creatively in order to heal,” Baron says in the show. “Why not invite some hipsters to dance salsa, you know. It’s called \u003cem>La Rumba del Hipster\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_11414797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414797\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/003-800x495.jpg\" alt=\"Carlos Baron and Ariceli Leon do the rumba in 'El Son de la Misión'\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Baron and Ariceli Leon do the rumba in ‘El Son de la Misión’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Baron breaks into a rumba, with Araceli Leon, a 25 year old former student at CMC, born in the Mission and still living there.\u003c/p>\n\u003cp>Leon co-hosts \u003cem>El Son de la Misión. \u003c/em>She says\u003cem> \u003c/em>she thinks her old teachers’ concerns are right on. “Money is starting to speak way louder and taking over so much,” Leon says. “And the most important thing is we’re still here and the culture still remains.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the point of the song cycle, say Leon, Baron, and Calloway, who’ve spent most of their lives in the Mission. They want their songs to teach the newest residents to respect the cultural mix that’s made this oldest neighborhood of the city such a special place.\u003c/p>\n\n",
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"excerpt": "'El Son de la Misión' tells the story of 50 years in the neighborhood, from barrio to hipster heaven.",
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"title": "Singing about San Francisco's Mission District, and How to Save It | KQED",
"description": "'El Son de la Misión' tells the story of 50 years in the neighborhood, from barrio to hipster heaven.",
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"headline": "Singing about San Francisco's Mission District, and How to Save It",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\">El\u003c/a>\u003cem>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\"> Son de la Misión\u003c/a>,\u003c/em> a new musical theater work, opens with a quote from an old Santana Latin rock number, and continues as a series of songs and stories highlighting 50 years of the Mission District’s history, from Latino enclave to hipster hangout. There’s doo-wop and soul, Latin jazz and salsa, rock \u003cem>en español\u003c/em>, and a rap track about the death of Mission and Bernal Heights native \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Alex Nieto,\u003c/a> killed by San Francisco police in 2014.\u003c/p>\n\u003cp>The Mission is at the center of the Bay Area’s growing fight over gentrification. And now the \u003ca href=\"http://sfcmc.org/?gclid=CNvyqqvGyMsCFZNgfgodC-QMbA\" target=\"_blank\" rel=\"noopener\">Community Music Center \u003c/a>(CMC), a Mission music school celebrating 95 years in the neighborhood, has commissioned a piece to tell some of that story. \u003cem>El Son de la Misión \u003c/em>plays at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/el-son-de-la-mision/#.VusSP-IrKJA\" target=\"_blank\" rel=\"noopener\">Brava Theater Saturday, Mar. 19 and Sunday, Mar. 20.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11414791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414791\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/006-800x495.jpg\" alt=\"Composer and music teacher John Calloway\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer and music teacher John Calloway \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like a ballad, it’s a narrative,” says \u003cem>El Son\u003c/em> composer and musician \u003ca href=\"https://www.facebook.com/johncallowaymusic/\" target=\"_blank\" rel=\"noopener\">John Calloway\u003c/a>. He’s been teaching music to Mission kids at CMC and in east side high schools for 30 years. And many of the 45 singers and musicians in the show have been his students.\u003c/p>\n\u003cp>“The piece is meant to be a neighborhood gathering,” says Community Music Center’s program director Sylvia Sherman. “You see four generations transmitting culture. It’s like a large family.”\u003c/p>\n\u003cp>That family shares its pride in its musical heritage and its grievances over the way the community has changed in the past decade. “This is the perfect time to tell this story because of gentrification,” Calloway says. “Maybe it’s too strong to use genocide, but there are things happening right now in the Mission that are very alarming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>El Son\u003c/em> features bits of the neighborhood’s history, both cultural and political, written and performed by longtime \u003ca href=\"http://news.sfsu.edu/news/experts/carlos-baron\" target=\"_blank\" rel=\"noopener\">SF State Theater professor Carlos Baron\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11414795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-800x495.jpg\" alt=\"SF State Theater Professor Carlos Baron\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF State Theater Professor Carlos Baron \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point in the piece, Baron explains how he too has been displaced by high rents in the Mission (he’s moved to Daly City), then offers a half-joking olive branch to the tech community often blamed for gentrifying the neighborhood. “We have to dance, we have to do stuff creatively in order to heal,” Baron says in the show. “Why not invite some hipsters to dance salsa, you know. It’s called \u003cem>La Rumba del Hipster\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_11414797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414797\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/003-800x495.jpg\" alt=\"Carlos Baron and Ariceli Leon do the rumba in 'El Son de la Misión'\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Baron and Ariceli Leon do the rumba in ‘El Son de la Misión’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Baron breaks into a rumba, with Araceli Leon, a 25 year old former student at CMC, born in the Mission and still living there.\u003c/p>\n\u003cp>Leon co-hosts \u003cem>El Son de la Misión. \u003c/em>She says\u003cem> \u003c/em>she thinks her old teachers’ concerns are right on. “Money is starting to speak way louder and taking over so much,” Leon says. “And the most important thing is we’re still here and the culture still remains.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the point of the song cycle, say Leon, Baron, and Calloway, who’ve spent most of their lives in the Mission. They want their songs to teach the newest residents to respect the cultural mix that’s made this oldest neighborhood of the city such a special place.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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