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"content": "\u003cp>There's no way around this: Media companies, in the year 2016, are rushed. If you're gonna get paid, you've gotta get clicks, and if you're gonna get clicks, you've gotta churn out content -- quickly.\u003c/p>\n\u003cp>That is one part of one explanation for how this, \u003ca href=\"http://cc.bingj.com/cache.aspx?q=who+is+Daniel+Holtzclaw&d=5845767626852&mkt=en-US&setlang=en-US&w=EB3ZpkXAFMx95yOxbU9PyE81lbaOWUjR\" target=\"_blank\">a sympathetic 12,000-word profile of convicted serial rapist Daniel Holtzclaw\u003c/a>, came to be published today on SB Nation, a sports news website under the Vox Media umbrella.\u003c/p>\n\u003cp>As of this writing, the story has been pulled from the site. In its place is \u003ca href=\"http://www.sbnation.com/2016/2/17/11038614/a-note-from-the-editorial-director\" target=\"_blank\">a note from the site's editor\u003c/a>, Spencer Hall, apologizing for the piece, calling it a \"failure,\" and declaring that its publication \"represents a complete breakdown of a part of the editorial process at SB Nation.\" So. Okay. That's a good apology. That's how you do it. We'll talk about the wording in a moment.\u003c/p>\n\u003cp>Holtzclaw, you will recall, is a former Oklahoma City police officer and onetime NFL hopeful who was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/11/459334314/former-oklahoma-city-police-officer-found-guilty-of-multiple-rapes\" target=\"_blank\">convicted in December 2015 of the sexual assaults of 13 women\u003c/a> over the span of around six months. He appeared to target women with existing criminal records, running background checks to determine if there was information he could use to coerce sex, and trusted that these victims would be too fearful to report a crime by a police officer to the police -- or that no one would believe them if they did.\u003c/p>\n\u003cp>If you don't have the time to slowly become nauseous over the course of 12,000 words of breathless writing about a sexual predator who preyed specifically on women of color (with some absolutely mind-blowing theories floated on top about how either getting hit on the head or maybe just not getting drafted into the NFL can turn you into a serial rapist), let's just say the story aims to dig into Holtzclaw's background, with an apparent goal of getting at \"who he really is\": Writer Jeff Arnold talks to former teammates of Holtzclaw's from his college team; he talks to his family; he talks to his lawyer. The vast majority of the voices in the story -- the opinions placed in quotes, the people who get speaking time -- are people who believe Holtzclaw is innocent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If it seems like this repetition simply amounts to a chorus of \"But he's a really good guy!\", please understand that is not just bad writing. It's a strategy, one usually used by writers who have an obligation to be objective, when they want other people to say their opinions for them. Often it takes the form of quoting people from both sides of the story, but then letting the favored side get \"the last word.\" But why do that when you can just ignore other opinions entirely?\u003c/p>\n\u003cp>Wait, you might say. There are also scientists in this story! Scientists like Dr. Fred Berlin, the director of the Sexual Behaviors Consultation Unit at Johns Hopkins University.\u003c/p>\n\u003cp>\"Berlin said given what on the surface appears to be a very natural appetite for sex may have gone off the tracks if Holtzclaw exhibited abnormal sexual fantasies of being in control of or coercing women, which followed a pattern of behavior in most of the complaints against him,\" writes Arnold.\u003c/p>\n\u003cp>\"If that was true, Berlin surmised, it may be possible that some type of disorder may have been in play during the six-month period when the crimes took place in 2013 and 2014 when, without the potential of an NFL career to suppress his behavior, Holtzclaw seemingly became a completely different person.\"\u003c/p>\n\u003cp>\u003cem>Without the potential of an NFL career to suppress his behavior. \u003c/em>\u003c/p>\n\u003cp>WITHOUT THE POTENTIAL OF AN NFL CAREER TO SUPPRESS HIS BEHAVIOR?\u003c/p>\n\u003cp>\u003cem>Without the potential of a six-figure book deal to suppress her behavior, Silvers seemingly became a completely different person.\u003c/em> Look for my totally explainable murder spree, forthcoming in 2017!\u003c/p>\n\u003cp>Okay, so it turns out I have neither the time nor the stomach to parse every batsh*t-bonkers sentence in this piece. Suffice it to say, yes, this was a massive failure, and the site's editor was right to call it that. The phrasing \"a complete breakdown of a part of the editorial process\" is interesting to me, though, because the less official way to say it is this piece slipped through the cracks. This happens. I've worked at publications where this has happened, to varying degrees. Here are the situations in which things slip through the cracks: When a publication is understaffed or rushed or both. (Most are both.) When a publication is hungry for edgy, shareable content at all costs. (Again: more than you might think.)\u003c/p>\n\u003cp>And also: When the tenor of a piece -- the bias, the tone-deafness, the bad reporting and worse word choices for which an editor will later have to apologize -- is \u003cem>not really that out of tune\u003c/em> with the rest of the words we breathe in and out over the course of a day of being on the internet, watching TV, or bullsh*tting about current events with our coworkers. The approach of \u003cem>\"How could this former football star, who by all accounts was a super normal dude, who worked his way into a position of authority as an officer of the law, have done these things?\"\u003c/em> feels pretty regular because we see it with regularity.\u003c/p>\n\u003cp>The suggestion of \"maybe he didn't\" is one of many things that took this piece an extra step over the line. But the way the question doesn't ring in our ears as off-key in the first place says something about our misunderstanding of rape; our underestimation of exactly how common violence, sexual assault, and attacks of all kinds on those in society with the least amount of power really are; and our misconceptions about the most common perpetrators. About our steadfast refusal to internalize that yes, you can behave a like a normal guy in your regular life and also be a violent rapist, and it probably has less to do with football than with living in a culture that encourages you to see women's bodies as things you deserve. It's an approach to entitlement, and to monstrosity, that expects people to wear easily identifiable monster suits if they're going to do bad things.\u003c/p>\n\u003cp>I know that SB Nation isn't exactly known for its compelling and nuanced discussion of gender politics, but it \u003cem>is\u003c/em> a site widely read by young men, so this is more than dumb and embarrassing. The moment we learn to stop positioning \"nice normal dudes\" as the diametric opposite of \"rapists,\" we can maybe start to have a real conversation. That begins with calling out this framing when we see it, with making it sound wrong (because it is), and, yes, with not letting it slip quite so easily through the cracks.\u003c/p>\n\u003cp>Bonus for journalism: Far fewer crow-eating apology notes to grade. It'd be a good thing all around.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There's no way around this: Media companies, in the year 2016, are rushed. If you're gonna get paid, you've gotta get clicks, and if you're gonna get clicks, you've gotta churn out content -- quickly.\u003c/p>\n\u003cp>That is one part of one explanation for how this, \u003ca href=\"http://cc.bingj.com/cache.aspx?q=who+is+Daniel+Holtzclaw&d=5845767626852&mkt=en-US&setlang=en-US&w=EB3ZpkXAFMx95yOxbU9PyE81lbaOWUjR\" target=\"_blank\">a sympathetic 12,000-word profile of convicted serial rapist Daniel Holtzclaw\u003c/a>, came to be published today on SB Nation, a sports news website under the Vox Media umbrella.\u003c/p>\n\u003cp>As of this writing, the story has been pulled from the site. In its place is \u003ca href=\"http://www.sbnation.com/2016/2/17/11038614/a-note-from-the-editorial-director\" target=\"_blank\">a note from the site's editor\u003c/a>, Spencer Hall, apologizing for the piece, calling it a \"failure,\" and declaring that its publication \"represents a complete breakdown of a part of the editorial process at SB Nation.\" So. Okay. That's a good apology. That's how you do it. We'll talk about the wording in a moment.\u003c/p>\n\u003cp>Holtzclaw, you will recall, is a former Oklahoma City police officer and onetime NFL hopeful who was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/11/459334314/former-oklahoma-city-police-officer-found-guilty-of-multiple-rapes\" target=\"_blank\">convicted in December 2015 of the sexual assaults of 13 women\u003c/a> over the span of around six months. He appeared to target women with existing criminal records, running background checks to determine if there was information he could use to coerce sex, and trusted that these victims would be too fearful to report a crime by a police officer to the police -- or that no one would believe them if they did.\u003c/p>\n\u003cp>If you don't have the time to slowly become nauseous over the course of 12,000 words of breathless writing about a sexual predator who preyed specifically on women of color (with some absolutely mind-blowing theories floated on top about how either getting hit on the head or maybe just not getting drafted into the NFL can turn you into a serial rapist), let's just say the story aims to dig into Holtzclaw's background, with an apparent goal of getting at \"who he really is\": Writer Jeff Arnold talks to former teammates of Holtzclaw's from his college team; he talks to his family; he talks to his lawyer. The vast majority of the voices in the story -- the opinions placed in quotes, the people who get speaking time -- are people who believe Holtzclaw is innocent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If it seems like this repetition simply amounts to a chorus of \"But he's a really good guy!\", please understand that is not just bad writing. It's a strategy, one usually used by writers who have an obligation to be objective, when they want other people to say their opinions for them. Often it takes the form of quoting people from both sides of the story, but then letting the favored side get \"the last word.\" But why do that when you can just ignore other opinions entirely?\u003c/p>\n\u003cp>Wait, you might say. There are also scientists in this story! Scientists like Dr. Fred Berlin, the director of the Sexual Behaviors Consultation Unit at Johns Hopkins University.\u003c/p>\n\u003cp>\"Berlin said given what on the surface appears to be a very natural appetite for sex may have gone off the tracks if Holtzclaw exhibited abnormal sexual fantasies of being in control of or coercing women, which followed a pattern of behavior in most of the complaints against him,\" writes Arnold.\u003c/p>\n\u003cp>\"If that was true, Berlin surmised, it may be possible that some type of disorder may have been in play during the six-month period when the crimes took place in 2013 and 2014 when, without the potential of an NFL career to suppress his behavior, Holtzclaw seemingly became a completely different person.\"\u003c/p>\n\u003cp>\u003cem>Without the potential of an NFL career to suppress his behavior. \u003c/em>\u003c/p>\n\u003cp>WITHOUT THE POTENTIAL OF AN NFL CAREER TO SUPPRESS HIS BEHAVIOR?\u003c/p>\n\u003cp>\u003cem>Without the potential of a six-figure book deal to suppress her behavior, Silvers seemingly became a completely different person.\u003c/em> Look for my totally explainable murder spree, forthcoming in 2017!\u003c/p>\n\u003cp>Okay, so it turns out I have neither the time nor the stomach to parse every batsh*t-bonkers sentence in this piece. Suffice it to say, yes, this was a massive failure, and the site's editor was right to call it that. The phrasing \"a complete breakdown of a part of the editorial process\" is interesting to me, though, because the less official way to say it is this piece slipped through the cracks. This happens. I've worked at publications where this has happened, to varying degrees. Here are the situations in which things slip through the cracks: When a publication is understaffed or rushed or both. (Most are both.) When a publication is hungry for edgy, shareable content at all costs. (Again: more than you might think.)\u003c/p>\n\u003cp>And also: When the tenor of a piece -- the bias, the tone-deafness, the bad reporting and worse word choices for which an editor will later have to apologize -- is \u003cem>not really that out of tune\u003c/em> with the rest of the words we breathe in and out over the course of a day of being on the internet, watching TV, or bullsh*tting about current events with our coworkers. The approach of \u003cem>\"How could this former football star, who by all accounts was a super normal dude, who worked his way into a position of authority as an officer of the law, have done these things?\"\u003c/em> feels pretty regular because we see it with regularity.\u003c/p>\n\u003cp>The suggestion of \"maybe he didn't\" is one of many things that took this piece an extra step over the line. But the way the question doesn't ring in our ears as off-key in the first place says something about our misunderstanding of rape; our underestimation of exactly how common violence, sexual assault, and attacks of all kinds on those in society with the least amount of power really are; and our misconceptions about the most common perpetrators. About our steadfast refusal to internalize that yes, you can behave a like a normal guy in your regular life and also be a violent rapist, and it probably has less to do with football than with living in a culture that encourages you to see women's bodies as things you deserve. It's an approach to entitlement, and to monstrosity, that expects people to wear easily identifiable monster suits if they're going to do bad things.\u003c/p>\n\u003cp>I know that SB Nation isn't exactly known for its compelling and nuanced discussion of gender politics, but it \u003cem>is\u003c/em> a site widely read by young men, so this is more than dumb and embarrassing. The moment we learn to stop positioning \"nice normal dudes\" as the diametric opposite of \"rapists,\" we can maybe start to have a real conversation. That begins with calling out this framing when we see it, with making it sound wrong (because it is), and, yes, with not letting it slip quite so easily through the cracks.\u003c/p>\n\u003cp>Bonus for journalism: Far fewer crow-eating apology notes to grade. It'd be a good thing all around.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The St. John Coltrane Church in San Francisco’s Fillmore District is in danger of eviction and barring an injection of cash, it looks like there’s little the church can do about it.\u003c/p>\n\u003cp>The storefront church is tiny, but attracts worshipers from around the world because of its Sunday performances of music by saxophone legend John Coltrane, still a towering figure in jazz nearly 50 years after his death.\u003c/p>\n\u003cp>Archbishop and co-founder Franzo King says the landlord, the West Bay Conference Center, is trying to raise the church’s rent from $1,600 a month to $4,000. But King says the issue is bigger than a rent hike. The church, he says, is one of the last black-owned businesses in a neighborhood known as the “Harlem of the West,” before the city redeveloped the Fillmore in the 1960s.\u003c/p>\n\u003cp>“The outmigration of the African American community is what we’re fighting against. The salvation of black culture and people in this community,” King said.\u003c/p>\n\u003cp>Since the closure last year of \u003ca href=\"http://ww2.kqed.org/arts/2015/01/12/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close/\" target=\"_blank\" rel=\"noopener\">the jazz club The Addition\u003c/a>, the John Coltrane Church is also the only jazz presenter in a neighborhood San Francisco has named the “Fillmore Jazz Preservation District.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A board member for the landlord had no comment on negotiations with the church. An aide to Supervisor London Breed says the supervisor wants to help the church find a new home, but that’s a challenge when so many non-profits are being priced out of the city.\u003c/p>\n\u003cp>Archbishop King says, “That’s our goal now, to find a home for this church that has proven itself to be something that is very necessary for the culture on a global level.”\u003c/p>\n\u003cp>Earlier this month, \u003ca href=\"http://ww2.kqed.org/arts/2016/02/10/coltrane-church-says-its-under-threat-of-being-priced-out-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">King started an online petition\u003c/a> in the hopes of gathering enough signatures to pressure local politicians to help the church stay around. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This isn’t the first time the Coltrane Church has faced eviction: \u003ca href=\"http://www.mtv.com/news/620905/church-of-saint-john-coltrane-facing-eviction/\" target=\"_blank\" rel=\"noopener\">back in 2000\u003c/a>, the church was forced out of its storefront space on Divisadero St., which had been its home since 1971.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The St. John Coltrane Church in San Francisco’s Fillmore District is in danger of eviction and barring an injection of cash, it looks like there’s little the church can do about it.\u003c/p>\n\u003cp>The storefront church is tiny, but attracts worshipers from around the world because of its Sunday performances of music by saxophone legend John Coltrane, still a towering figure in jazz nearly 50 years after his death.\u003c/p>\n\u003cp>Archbishop and co-founder Franzo King says the landlord, the West Bay Conference Center, is trying to raise the church’s rent from $1,600 a month to $4,000. But King says the issue is bigger than a rent hike. The church, he says, is one of the last black-owned businesses in a neighborhood known as the “Harlem of the West,” before the city redeveloped the Fillmore in the 1960s.\u003c/p>\n\u003cp>“The outmigration of the African American community is what we’re fighting against. The salvation of black culture and people in this community,” King said.\u003c/p>\n\u003cp>Since the closure last year of \u003ca href=\"http://ww2.kqed.org/arts/2015/01/12/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close/\" target=\"_blank\" rel=\"noopener\">the jazz club The Addition\u003c/a>, the John Coltrane Church is also the only jazz presenter in a neighborhood San Francisco has named the “Fillmore Jazz Preservation District.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A board member for the landlord had no comment on negotiations with the church. An aide to Supervisor London Breed says the supervisor wants to help the church find a new home, but that’s a challenge when so many non-profits are being priced out of the city.\u003c/p>\n\u003cp>Archbishop King says, “That’s our goal now, to find a home for this church that has proven itself to be something that is very necessary for the culture on a global level.”\u003c/p>\n\u003cp>Earlier this month, \u003ca href=\"http://ww2.kqed.org/arts/2016/02/10/coltrane-church-says-its-under-threat-of-being-priced-out-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">King started an online petition\u003c/a> in the hopes of gathering enough signatures to pressure local politicians to help the church stay around. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This isn’t the first time the Coltrane Church has faced eviction: \u003ca href=\"http://www.mtv.com/news/620905/church-of-saint-john-coltrane-facing-eviction/\" target=\"_blank\" rel=\"noopener\">back in 2000\u003c/a>, the church was forced out of its storefront space on Divisadero St., which had been its home since 1971.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Vanity, a Prince protege who renounced her sexy stage persona to become a Christian minister, has died. She was 57.\u003c/p>\n\u003cp>The singer and actress, born Denise Matthews, died Monday at a hospital in Fremont, California, said Gisela Hernandez, a spokeswoman for Washington Hospital Health Care System. Hernandez did not give a cause of death.\u003c/p>\n\u003cp>Matthews’ sister Renay said the death was from complications over longstanding kidney issues.\u003c/p>\n\u003cp>She said Denise Matthews was happy in recent years. “She loved her time in the ’80s, but I think she loved her recent time more, because she had been at peace,” Renay Matthews said.\u003c/p>\n\u003cp>A native of Niagara Falls, Ontario, Matthews first rocketed to stardom through her association with Prince and the 80s girl group Vanity 6. During her time in music, Vanity released four albums with Motown and Warner Brothers and was known for her sultry appearance and sexually-themed music, including “Nasty Girl.” She also appeared in films in the late 1980s and early 1990s, including “The Last Dragon,” ”52 Pick-Up” and “Action Jackson.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Matthews’ health took a turn for the worse in 1992 and she was hospitalized for kidney failure, which she blamed on cocaine and other drug use.\u003c/p>\n\u003cp>“I was sick inside. I was a crack cocaine addict and didn’t even know how to wake up in the morning without some smoke,” she said in an Associated Press story in 1999.\u003c/p>\n\u003cp>She renounced her Hollywood lifestyle and became a Christian minister. She married former Oakland Raider Anthony Smith in 1995 and they divorced the next year.\u003c/p>\n\u003cp>On a \u003ca href=\"https://www.gofundme.com/esiy74\" target=\"_blank\" rel=\"noopener\">GoFundMe page\u003c/a> aimed at helping her pay her medical bills, Matthews said four months ago she had gone through 23 surgeries and was on dialysis three times a week. She said she was also diagnosed with sclerosis encapsulating peritonitis, a rare benign cause of small bowel obstruction.\u003c/p>\n\u003cp>Matthews expressed no regrets about leaving her celebrity lifestyle behind.\u003c/p>\n\u003cp>“When I was Vanity, it was all about me,” she said in 1999. “But when I’m preaching the word of God, it’s Jesus Christ speaking through me. I don’t want people to know who I was back then, but the new creature that God has made me.”\u003c/p>\n\u003cp>Musicians around the world expressed sorrow at Matthews’ death.\u003c/p>\n\u003cp>Prince, who was touring in Australia, dedicated several songs to Matthews during a show, according to the Herald Sun newspaper. They “used to love each other deeply,” Prince said, according to the newspaper. “She loved me for the artist I was, I loved her for the artist she was trying to be.”\u003c/p>\n\u003cp>“Miss you dearly. U are in his arms now, no pain,” tweeted drummer Sheila E., who also worked with Prince.\u003c/p>\n\u003cp>Rapper MC Hammer tweeted that he had just attended church with Matthews on Saturday.\u003c/p>\n\u003cp>“Vanity left church after giving a beautiful testimony of appreciation for her Pastors & Thanks to her savior Jesus, I was there,” he tweeted. “I was looking for her Sunday and the announcement came that she fell ill during the night.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press Writer Hillel Italie contributed to this story.\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>Matthews’ health took a turn for the worse in 1992 and she was hospitalized for kidney failure, which she blamed on cocaine and other drug use.\u003c/p>\n\u003cp>“I was sick inside. I was a crack cocaine addict and didn’t even know how to wake up in the morning without some smoke,” she said in an Associated Press story in 1999.\u003c/p>\n\u003cp>She renounced her Hollywood lifestyle and became a Christian minister. She married former Oakland Raider Anthony Smith in 1995 and they divorced the next year.\u003c/p>\n\u003cp>On a \u003ca href=\"https://www.gofundme.com/esiy74\" target=\"_blank\" rel=\"noopener\">GoFundMe page\u003c/a> aimed at helping her pay her medical bills, Matthews said four months ago she had gone through 23 surgeries and was on dialysis three times a week. She said she was also diagnosed with sclerosis encapsulating peritonitis, a rare benign cause of small bowel obstruction.\u003c/p>\n\u003cp>Matthews expressed no regrets about leaving her celebrity lifestyle behind.\u003c/p>\n\u003cp>“When I was Vanity, it was all about me,” she said in 1999. “But when I’m preaching the word of God, it’s Jesus Christ speaking through me. I don’t want people to know who I was back then, but the new creature that God has made me.”\u003c/p>\n\u003cp>Musicians around the world expressed sorrow at Matthews’ death.\u003c/p>\n\u003cp>Prince, who was touring in Australia, dedicated several songs to Matthews during a show, according to the Herald Sun newspaper. They “used to love each other deeply,” Prince said, according to the newspaper. “She loved me for the artist I was, I loved her for the artist she was trying to be.”\u003c/p>\n\u003cp>“Miss you dearly. U are in his arms now, no pain,” tweeted drummer Sheila E., who also worked with Prince.\u003c/p>\n\u003cp>Rapper MC Hammer tweeted that he had just attended church with Matthews on Saturday.\u003c/p>\n\u003cp>“Vanity left church after giving a beautiful testimony of appreciation for her Pastors & Thanks to her savior Jesus, I was there,” he tweeted. “I was looking for her Sunday and the announcement came that she fell ill during the night.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press Writer Hillel Italie contributed to this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "no-justice-without-us-the-bay-areas-legacy-of-art-activism",
"title": "No Justice Without Us: The Bay Area's Legacy of Art Activism",
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"headTitle": "No Justice Without Us: The Bay Area’s Legacy of Art Activism | KQED",
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"content": "\u003cp>Bay Area history is deeply rooted in art activism and social justice organizing. The area is recognized for a firmly entrenched spirit of working towards a just world across an encyclopedic range of issues, including labor organizing, freedom of speech, gender/LGBTQ equality, racial justice and environmentalism, among so many others. The spirit of protest is deeply engrained in this place; it’s a legacy that is among the Bay Area’s proudest contributions to this country’s evolving vision of freedom and equality.\u003c/p>\n\u003cfigure id=\"attachment_11327803\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg\" alt=\"Still from 'Black Panthers: Vanguard of the Revolution.'\" width=\"550\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309-400x225.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Black Panthers: Vanguard of the Revolution.’\u003c/figcaption>\u003c/figure>\n\u003cp>2016 marks the 50th anniversary of the Black Panther Party, founded in Oakland in 1966. The new documentary \u003ci>\u003ca href=\"http://www.pbs.org/independentlens/films/the-black-panthers-vanguard-of-the-revolution/\" target=\"_blank\" rel=\"noopener\">The Black Panthers: Vanguard of the Revolution\u003c/a>\u003c/i> airs on KQED starting Feb. 16 and the Oakland Museum of California opens their exhibition \u003ci>\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i> on Oct. 8, to coincide with the Party’s founding.\u003c/p>\n\u003cp>As we look back on this formative homegrown movement, we might also consider the Bay Area’s larger history of art activism. By no means comprehensive — an impossible task given the range and depth of this history — this timeline offers notes on our collective history as a vastly influential site of art, protest and change making.\u003c/p>\n\u003cfigure id=\"attachment_11327804\" class=\"wp-caption alignleft\" style=\"max-width: 241px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327804 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Sargent_Johnson_painting_-_NARA_-_559180-e1455497672993.jpg\" alt=\"Sargent Johnson painting, year unknown.\" width=\"241\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Sargent Johnson painting, year unknown. \u003ccite>(Courtesy National Archives and Records Administration, College Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1939\u003c/h3>\n\u003cp>Prominent African-American WPA artist and lifelong communist Sargent Johnson \u003ca href=\"https://livingnewdeal.org/projects/aquatic-park-bathhouse-maritime-museum-johnson-mural-san-francisco-ca/\" target=\"_blank\" rel=\"noopener\">walks off the project before the completion of \u003ci>Sea Forms\u003c/i>\u003c/a>, a glazed tile mural commissioned by the Federal Art Project for the San Francisco Maritime Museum, after learning that the site would house a private restaurant for San Francisco’s elite. The mural remains incomplete to this day.\u003c/p>\n\u003ch3>1965\u003c/h3>\n\u003cp>Three faith-based organizations pool resources to initiate a new experimental arts organization called \u003ca href=\"http://www.theintersection.org/\" target=\"_blank\" rel=\"noopener\">Intersection for the Arts\u003c/a>, with the objective of using art to engage marginalized youth and providing an alternative space for artists who are conscientious objectors to the American war in Vietnam. Intersection eventually fosters a growing number of influential artists through various programs, while also fiscally sponsoring more than 500 projects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://vimeo.com/128523144\u003c/p>\n\u003ch3>1966\u003c/h3>\n\u003cp>Huey P. Newton and Bobby Seale found the \u003ca href=\"https://www.marxists.org/history/usa/workers/black-panthers/\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a> to challenge police brutality in Oakland. Originally called the Black Panther Party for Self-Defense, it grows into a controversial national movement, instituting a number of community programs including free breakfast for children and health clinics. \u003ci>The Black Panther Newspaper\u003c/i>, art directed and illustrated by Emory Douglas from 1967 until the party disbanded, provides one of the most comprehensive records of the Black Power movement of the 1960s, ’70s and ’80s.\u003c/p>\n\u003ch3>1969\u003c/h3>\n\u003cp>Following on the heels of the infamous \u003ca href=\"https://en.wikipedia.org/wiki/1969_Santa_Barbara_oil_spill\" target=\"_blank\" rel=\"noopener\">Santa Barbara oil spill\u003c/a>, the largest spill to occur in the waters off of California, artists \u003ca href=\"http://openspace.sfmoma.org/2013/12/henderson/\" target=\"_blank\" rel=\"noopener\">Joe Hawley, Mel Henderson, and Alfred Young spell “OIL”\u003c/a> on the San Francisco Bay near the refineries using yellow, nontoxic uranine marker dye. Later, the same artists orchestrate a traffic disruption by calling 100 yellow cabs to the same destination (the six-sided intersection of Castro and Market Streets) at the same time.\u003c/p>\n\u003cfigure id=\"attachment_11327674\" class=\"wp-caption alignleft\" style=\"max-width: 234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/1972_poster_asof2009.03.23_234w.jpg\" alt=\"Poster for the June 25, 1972 Gay Pride Parade in San Francisco.\" width=\"234\" height=\"313\">\u003cfigcaption class=\"wp-caption-text\">Poster for the June 25, 1972 Gay Pride Parade in San Francisco. \u003ccite>(Courtesy of San Francisco Pride)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1972\u003c/h3>\n\u003cp>\u003ca href=\"http://www.sfgate.com/bayarea/article/Our-SF-Long-road-led-to-victory-for-LGBT-pride-6336727.php\" target=\"_blank\" rel=\"noopener\">San Francisco’s first pride parade takes place\u003c/a> with some 2,000 marchers — many dressed in togas and some dressed in nothing at all — and 15,000 cheering spectators. The float for the Society for Individual Rights features a gay wedding. A group from Bakersfield wears Boy Scout uniforms and chants, “We’re everywhere!”\u003c/p>\n\u003ch3>1974\u003c/h3>\n\u003cp>Mark di Suvero’s sculpture \u003ci>Mother Peace\u003c/i> is installed in front of the Oakland Courthouse as part of the Oakland Museum’s landmark exhibition \u003ci>Public Sculpture, Urban Environment\u003c/i>. A conservative judge \u003ca href=\"http://www.sfgate.com/art/article/Judy-Chicago-A-Butterfly-for-Oakland-revisited-5590989.php\" target=\"_blank\" rel=\"noopener\">takes issue with the antiwar sentiment\u003c/a> of the sculpture’s peace symbol and successfully lobbies for its removal. The museum’s longer-term plans to acquire the sculpture dissolve.\u003c/p>\n\u003cfigure id=\"attachment_11327676\" class=\"wp-caption aligncenter\" style=\"max-width: 1576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327676\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg\" alt=\"Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs' deputies from evicting elderly tenants on August 4,1977. \" width=\"1576\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg 1576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-960x643.jpg 960w\" sizes=\"(max-width: 1576px) 100vw, 1576px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs’ deputies from evicting elderly tenants on August 4,1977. \u003ccite>(Photo by Nancy Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1977\u003c/h3>\n\u003cp>San Francisco’s International Hotel is slated for demolition and redevelopment — 196 low-income Filipino and Chinese residents are evicted amidst a sweeping wave of gentrification and displacement. Artists take part in the struggle by silk-screening protest posters, painting murals on the building and organizing art events and exhibitions. As part of the protests hundreds of artists march down Mission Street with \u003ca href=\"http://reimaginerpe.org/rpe/oscar-art-of-protest\" target=\"_blank\" rel=\"noopener\">their faces painted white\u003c/a> to protest the displacement of people of color, creating a media spectacle that captures international attention.\u003c/p>\n\u003cfigure id=\"attachment_11327677\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327677 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/building-1024x721-e1455508136542.png\" alt=\"Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street.\" width=\"426\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street. \u003ccite>(Courtesy: The Women's Building)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1979\u003c/h3>\n\u003cp>After initially organizing to found the San Francisco Women’s Centers in 1971, a group of women purchase a four-story building and former meeting hall in the Mission District to establish The Women’s Building, the \u003ca href=\"http://womensbuilding.org/about/mission-history/\" target=\"_blank\" rel=\"noopener\">first woman-owned and operated community center\u003c/a> in the country. Fifteen years later, a group of artists complete the \u003ca href=\"http://womensbuilding.org/the-mural/\" target=\"_blank\" rel=\"noopener\">MaestraPeace Mural\u003c/a> on its façade, one of the city’s largest murals according to the Women’s Building website.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vIH-t2aLFog\u003c/p>\n\u003ch3>1984\u003c/h3>\n\u003cp>The War Chest Tours, a group of punk rockers, disrupt the Democratic Party Convention in San Francisco. Some 100 punks stage actions, interventions and die-ins in response to police sweeps (under the direction of Mayor Dianne Feinstein) organized to remove sex workers and the homeless from the view of convention-goers. Many are arrested; the \u003ci>San Francisco Chronicle\u003c/i> covers events the next day with the headline, “Punk Rocker Protest — 84 arrests.”\u003c/p>\n\u003cfigure id=\"attachment_11327678\" class=\"wp-caption aligncenter\" style=\"max-width: 1069px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg\" alt=\"The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat.\" width=\"1069\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-400x180.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-800x360.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-960x432.jpg 960w\" sizes=\"(max-width: 1069px) 100vw, 1069px\">\u003cfigcaption class=\"wp-caption-text\">The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat. \u003ccite>(Photos: Bob Heifetz, Peace Navy / Courtesy Shaping SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1988\u003c/h3>\n\u003cp>The Bay Area Peace Navy (a coalition of tradespeople, artists, filmmakers and 100 privately owned boats) and the San Francisco Mime Troupe \u003ca href=\"http://foundsf.org/index.php?title=Bay_Area_Peace_Navy\" target=\"_blank\" rel=\"noopener\">stage a dramatization of a nuclear accident at sea\u003c/a>. Part of an international campaign to disarm the seas, the performance takes place aboard a specially crafted 100-foot-long submarine in Sausalito’s waterfront.\u003c/p>\n\u003cfigure id=\"attachment_11327679\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg\" alt=\"Installing the pink priangle in 2002; A view from afar in 2004.\" width=\"1200\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-1180x472.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-960x384.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installing the pink triangle in 2002; A view from afar in 2004. \u003ccite>(Courtesy of Friends of the Pink Triangle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1995\u003c/h3>\n\u003cp>Initially conceived as a “renegade craft project,” \u003ca href=\"http://www.thepinktriangle.com/index.html\" target=\"_blank\" rel=\"noopener\">a giant pink fabric triangle\u003c/a> is installed on Twin Peaks during Pride Weekend to memorialize the homosexuals who were persecuted in Nazi Germany during the Holocaust. The first installation is christened by Mayor Willie Brown with pink champagne. The unfurling of this reclaimed symbol, once used to identify and shame gays, becomes an annual event maintained by The Friends of the Pink Triangle.\u003c/p>\n\u003cfigure id=\"attachment_11327680\" class=\"wp-caption alignleft\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327680 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/elliotjohnsonOscarGrant-e1455508162652.jpg\" alt=\"Graffiti memorializing Oscar Grant.\" width=\"450\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Graffiti memorializing Oscar Grant. \u003ccite>(Photo: Elliot Johnson / Courtesy Oscar Grant Memorial Arts Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2009\u003c/h3>\n\u003cp>Oscar Grant is killed in Oakland on New Year’s morning by BART police officer Johannes Mehserle — his death sparks numerous protests and creative actions, including the \u003ca href=\"http://reimaginerpe.org/rpe/oscar\" target=\"_blank\" rel=\"noopener\">Oscar Grant Memorial Arts Project\u003c/a>, as well as inspiration for Bay Area filmmaker Ryan Coogler’s critically acclaimed \u003ci>Fruitvale Station\u003c/i>, which wins the Grand Jury Prize at Sundance Film Festival and Best First Film at Cannes Film Festival, both in 2013. Grant’s death, along with that of Trayvon Martin in Florida, is among the events that catapult the \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> movement into action in July 2013.\u003c/p>\n\u003cp>https://vimeo.com/152916274\u003c/p>\n\u003ch3>2013\u003c/h3>\n\u003cp>\u003ca href=\"http://antievictionmappingproject.net/\" target=\"_blank\" rel=\"noopener\">The Anti-Eviction Mapping Project\u003c/a> is founded by a group of artists, activists and technologists to create visual maps of San Francisco’s eviction crisis. The visually compelling maps succinctly data map the city’s housing crisis and draw international media attention to how these shifts implicate new wealth in the city’s revitalized technology sector.\u003c/p>\n\u003ch3>2013 February\u003c/h3>\n\u003cp>Writer, historian and activist Rebecca Solnit pens \u003ca href=\"http://www.lrb.co.uk/v35/n03/rebecca-solnit/diary\" target=\"_blank\" rel=\"noopener\">an incendiary essay\u003c/a> on the rapid changes in San Francisco for the \u003ci>London Review of Books\u003c/i>. The article becomes an international sensation, drawing greater attention to the changes happening in the city and spawning an avalanche of media coverage on the city’s tech boom.\u003c/p>\n\u003cfigure id=\"attachment_11327798\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327798\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Nieto.jpg\" alt=\"Aztec dancers march for Alejandro Nieto in March 2014.\" width=\"1568\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto.jpg 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-960x613.jpg 960w\" sizes=\"(max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">Aztec dancers march for Alejandro Nieto in March 2014. \u003ccite>(Photo: Alex Emslie/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2014 March\u003c/h3>\n\u003cp>Alex Nieto is killed by San Francisco police in a hail of 59 bullets fired into Bernal Hill Park at twilight. The Mission community, led by several artists, including writer \u003ca href=\"http://www.unsettlers.org/\" target=\"_blank\" rel=\"noopener\">Adriana Camarena\u003c/a> and poet and author \u003ca href=\"https://todobododown.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Benjamin Bac Sierra\u003c/a>, organizes \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Justice for Alex Nieto\u003c/a> to undertake a series of creative protests demanding information. The protests include \u003ca href=\"http://ww2.hdnux.com/photos/33/34/02/7192741/5/1024x1024.jpg\" target=\"_blank\" rel=\"noopener\">media interventions\u003c/a> during the 2014 playoffs and World Series at AT&T Park.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FZkXZQGbnJs\u003c/p>\n\u003ch3>2014 April\u003c/h3>\n\u003cp>Building on the success of previous tech shuttle bus protests, a group of artists and activists from the organization Heart of the City \u003ca href=\"http://www.motherjones.com/mojo/2014/04/google-bus-protest-most-san-francisco-thing-ever\" target=\"_blank\" rel=\"noopener\">stage a theatrical demonstration\u003c/a> at 24th and Valencia Streets to draw attention to a proposed tax hike on public transportation. Complete with colorful costumes and a walking surveillance camera on stilts, \u003ci>Mother Jones\u003c/i> calls the performance protest “the most San Francisco Thing ever.”\u003c/p>\n\u003cfigure id=\"attachment_11327799\" class=\"wp-caption alignleft\" style=\"max-width: 541px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327799\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Black.Seed-Bay-Bridge-Shut-down_Reclaim-MLK_011816_Source-www.baybridgeinfo.orgconstruction-cams-e1455508207943.png\" alt=\"View from the construction cameras on the Bay Bride during the Black.Seed protest.\" width=\"541\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">View from the construction cameras on the Bay Bride during the Black.Seed protest. \u003ccite>(Source: baybridgeinfo.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2016\u003c/h3>\n\u003cp>Responding to a nationwide call to \u003ca href=\"https://twitter.com/hashtag/reclaimmlk\" target=\"_blank\" rel=\"noopener\">#ReclaimMLK\u003c/a> through 96 hours of direct action over the weekend preceding Martin Luther King, Jr. Day, Black.Seed, a queer liberation collective, shuts down the west-bound span of the Bay Bridge to demand justice for Bay Area victims of police brutality. A temporary radio station broadcasts the event and it is live-tweeted by the \u003ca href=\"http://www.antipoliceterrorproject.org/new-blog/2016/1/18/black-queer-liberation-collective-blackseed-shuts-down-bay-bridge\" target=\"_blank\" rel=\"noopener\">Anti Police-Terror Project\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What would you add to this list of art activism? Feel free contribute your own memories in the comments section below.\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"excerpt": "Bay Area history is filled with powerful art activism movements -- from the Black Panther Party to Black.Seed.",
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"title": "No Justice Without Us: The Bay Area's Legacy of Art Activism | KQED",
"description": "Bay Area history is filled with powerful art activism movements -- from the Black Panther Party to Black.Seed.",
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"headline": "No Justice Without Us: The Bay Area's Legacy of Art Activism",
"datePublished": "2016-02-15T08:00:04-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area history is deeply rooted in art activism and social justice organizing. The area is recognized for a firmly entrenched spirit of working towards a just world across an encyclopedic range of issues, including labor organizing, freedom of speech, gender/LGBTQ equality, racial justice and environmentalism, among so many others. The spirit of protest is deeply engrained in this place; it’s a legacy that is among the Bay Area’s proudest contributions to this country’s evolving vision of freedom and equality.\u003c/p>\n\u003cfigure id=\"attachment_11327803\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg\" alt=\"Still from 'Black Panthers: Vanguard of the Revolution.'\" width=\"550\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/black-panthers-vanguard-of-the-revolution-sig-550x309-400x225.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Black Panthers: Vanguard of the Revolution.’\u003c/figcaption>\u003c/figure>\n\u003cp>2016 marks the 50th anniversary of the Black Panther Party, founded in Oakland in 1966. The new documentary \u003ci>\u003ca href=\"http://www.pbs.org/independentlens/films/the-black-panthers-vanguard-of-the-revolution/\" target=\"_blank\" rel=\"noopener\">The Black Panthers: Vanguard of the Revolution\u003c/a>\u003c/i> airs on KQED starting Feb. 16 and the Oakland Museum of California opens their exhibition \u003ci>\u003ca href=\"http://museumca.org/exhibit/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i> on Oct. 8, to coincide with the Party’s founding.\u003c/p>\n\u003cp>As we look back on this formative homegrown movement, we might also consider the Bay Area’s larger history of art activism. By no means comprehensive — an impossible task given the range and depth of this history — this timeline offers notes on our collective history as a vastly influential site of art, protest and change making.\u003c/p>\n\u003cfigure id=\"attachment_11327804\" class=\"wp-caption alignleft\" style=\"max-width: 241px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327804 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Sargent_Johnson_painting_-_NARA_-_559180-e1455497672993.jpg\" alt=\"Sargent Johnson painting, year unknown.\" width=\"241\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Sargent Johnson painting, year unknown. \u003ccite>(Courtesy National Archives and Records Administration, College Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1939\u003c/h3>\n\u003cp>Prominent African-American WPA artist and lifelong communist Sargent Johnson \u003ca href=\"https://livingnewdeal.org/projects/aquatic-park-bathhouse-maritime-museum-johnson-mural-san-francisco-ca/\" target=\"_blank\" rel=\"noopener\">walks off the project before the completion of \u003ci>Sea Forms\u003c/i>\u003c/a>, a glazed tile mural commissioned by the Federal Art Project for the San Francisco Maritime Museum, after learning that the site would house a private restaurant for San Francisco’s elite. The mural remains incomplete to this day.\u003c/p>\n\u003ch3>1965\u003c/h3>\n\u003cp>Three faith-based organizations pool resources to initiate a new experimental arts organization called \u003ca href=\"http://www.theintersection.org/\" target=\"_blank\" rel=\"noopener\">Intersection for the Arts\u003c/a>, with the objective of using art to engage marginalized youth and providing an alternative space for artists who are conscientious objectors to the American war in Vietnam. Intersection eventually fosters a growing number of influential artists through various programs, while also fiscally sponsoring more than 500 projects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>1966\u003c/h3>\n\u003cp>Huey P. Newton and Bobby Seale found the \u003ca href=\"https://www.marxists.org/history/usa/workers/black-panthers/\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a> to challenge police brutality in Oakland. Originally called the Black Panther Party for Self-Defense, it grows into a controversial national movement, instituting a number of community programs including free breakfast for children and health clinics. \u003ci>The Black Panther Newspaper\u003c/i>, art directed and illustrated by Emory Douglas from 1967 until the party disbanded, provides one of the most comprehensive records of the Black Power movement of the 1960s, ’70s and ’80s.\u003c/p>\n\u003ch3>1969\u003c/h3>\n\u003cp>Following on the heels of the infamous \u003ca href=\"https://en.wikipedia.org/wiki/1969_Santa_Barbara_oil_spill\" target=\"_blank\" rel=\"noopener\">Santa Barbara oil spill\u003c/a>, the largest spill to occur in the waters off of California, artists \u003ca href=\"http://openspace.sfmoma.org/2013/12/henderson/\" target=\"_blank\" rel=\"noopener\">Joe Hawley, Mel Henderson, and Alfred Young spell “OIL”\u003c/a> on the San Francisco Bay near the refineries using yellow, nontoxic uranine marker dye. Later, the same artists orchestrate a traffic disruption by calling 100 yellow cabs to the same destination (the six-sided intersection of Castro and Market Streets) at the same time.\u003c/p>\n\u003cfigure id=\"attachment_11327674\" class=\"wp-caption alignleft\" style=\"max-width: 234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/1972_poster_asof2009.03.23_234w.jpg\" alt=\"Poster for the June 25, 1972 Gay Pride Parade in San Francisco.\" width=\"234\" height=\"313\">\u003cfigcaption class=\"wp-caption-text\">Poster for the June 25, 1972 Gay Pride Parade in San Francisco. \u003ccite>(Courtesy of San Francisco Pride)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1972\u003c/h3>\n\u003cp>\u003ca href=\"http://www.sfgate.com/bayarea/article/Our-SF-Long-road-led-to-victory-for-LGBT-pride-6336727.php\" target=\"_blank\" rel=\"noopener\">San Francisco’s first pride parade takes place\u003c/a> with some 2,000 marchers — many dressed in togas and some dressed in nothing at all — and 15,000 cheering spectators. The float for the Society for Individual Rights features a gay wedding. A group from Bakersfield wears Boy Scout uniforms and chants, “We’re everywhere!”\u003c/p>\n\u003ch3>1974\u003c/h3>\n\u003cp>Mark di Suvero’s sculpture \u003ci>Mother Peace\u003c/i> is installed in front of the Oakland Courthouse as part of the Oakland Museum’s landmark exhibition \u003ci>Public Sculpture, Urban Environment\u003c/i>. A conservative judge \u003ca href=\"http://www.sfgate.com/art/article/Judy-Chicago-A-Butterfly-for-Oakland-revisited-5590989.php\" target=\"_blank\" rel=\"noopener\">takes issue with the antiwar sentiment\u003c/a> of the sculpture’s peace symbol and successfully lobbies for its removal. The museum’s longer-term plans to acquire the sculpture dissolve.\u003c/p>\n\u003cfigure id=\"attachment_11327676\" class=\"wp-caption aligncenter\" style=\"max-width: 1576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327676\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg\" alt=\"Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs' deputies from evicting elderly tenants on August 4,1977. \" width=\"1576\" height=\"1056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel.jpg 1576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-1180x791.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Protesters_in_front_of_the_International_Hotel-960x643.jpg 960w\" sizes=\"(max-width: 1576px) 100vw, 1576px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds of protesters linking arms in front of the International Hotel in San Francisco try to prevent the San Francisco Sheriffs’ deputies from evicting elderly tenants on August 4,1977. \u003ccite>(Photo by Nancy Wong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1977\u003c/h3>\n\u003cp>San Francisco’s International Hotel is slated for demolition and redevelopment — 196 low-income Filipino and Chinese residents are evicted amidst a sweeping wave of gentrification and displacement. Artists take part in the struggle by silk-screening protest posters, painting murals on the building and organizing art events and exhibitions. As part of the protests hundreds of artists march down Mission Street with \u003ca href=\"http://reimaginerpe.org/rpe/oscar-art-of-protest\" target=\"_blank\" rel=\"noopener\">their faces painted white\u003c/a> to protest the displacement of people of color, creating a media spectacle that captures international attention.\u003c/p>\n\u003cfigure id=\"attachment_11327677\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327677 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/building-1024x721-e1455508136542.png\" alt=\"Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street.\" width=\"426\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Full MaestraPeace Mural from the corner of 18th Street and Lapidge Street. \u003ccite>(Courtesy: The Women's Building)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1979\u003c/h3>\n\u003cp>After initially organizing to found the San Francisco Women’s Centers in 1971, a group of women purchase a four-story building and former meeting hall in the Mission District to establish The Women’s Building, the \u003ca href=\"http://womensbuilding.org/about/mission-history/\" target=\"_blank\" rel=\"noopener\">first woman-owned and operated community center\u003c/a> in the country. Fifteen years later, a group of artists complete the \u003ca href=\"http://womensbuilding.org/the-mural/\" target=\"_blank\" rel=\"noopener\">MaestraPeace Mural\u003c/a> on its façade, one of the city’s largest murals according to the Women’s Building website.\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/vIH-t2aLFog'\n title='//www.youtube.com/embed/vIH-t2aLFog'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>1984\u003c/h3>\n\u003cp>The War Chest Tours, a group of punk rockers, disrupt the Democratic Party Convention in San Francisco. Some 100 punks stage actions, interventions and die-ins in response to police sweeps (under the direction of Mayor Dianne Feinstein) organized to remove sex workers and the homeless from the view of convention-goers. Many are arrested; the \u003ci>San Francisco Chronicle\u003c/i> covers events the next day with the headline, “Punk Rocker Protest — 84 arrests.”\u003c/p>\n\u003cfigure id=\"attachment_11327678\" class=\"wp-caption aligncenter\" style=\"max-width: 1069px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327678\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg\" alt=\"The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat.\" width=\"1069\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-400x180.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-800x360.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/NavyProtest-960x432.jpg 960w\" sizes=\"(max-width: 1069px) 100vw, 1069px\">\u003cfigcaption class=\"wp-caption-text\">The Peace Navy obstructs USS Missouri during contentious campaign to homeport the Missouri in San Francisco during the 1980s; a Peace Navy boat. \u003ccite>(Photos: Bob Heifetz, Peace Navy / Courtesy Shaping SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1988\u003c/h3>\n\u003cp>The Bay Area Peace Navy (a coalition of tradespeople, artists, filmmakers and 100 privately owned boats) and the San Francisco Mime Troupe \u003ca href=\"http://foundsf.org/index.php?title=Bay_Area_Peace_Navy\" target=\"_blank\" rel=\"noopener\">stage a dramatization of a nuclear accident at sea\u003c/a>. Part of an international campaign to disarm the seas, the performance takes place aboard a specially crafted 100-foot-long submarine in Sausalito’s waterfront.\u003c/p>\n\u003cfigure id=\"attachment_11327679\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327679\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg\" alt=\"Installing the pink priangle in 2002; A view from afar in 2004.\" width=\"1200\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-1180x472.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PinkTriangleCombo-960x384.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installing the pink triangle in 2002; A view from afar in 2004. \u003ccite>(Courtesy of Friends of the Pink Triangle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1995\u003c/h3>\n\u003cp>Initially conceived as a “renegade craft project,” \u003ca href=\"http://www.thepinktriangle.com/index.html\" target=\"_blank\" rel=\"noopener\">a giant pink fabric triangle\u003c/a> is installed on Twin Peaks during Pride Weekend to memorialize the homosexuals who were persecuted in Nazi Germany during the Holocaust. The first installation is christened by Mayor Willie Brown with pink champagne. The unfurling of this reclaimed symbol, once used to identify and shame gays, becomes an annual event maintained by The Friends of the Pink Triangle.\u003c/p>\n\u003cfigure id=\"attachment_11327680\" class=\"wp-caption alignleft\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11327680 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/elliotjohnsonOscarGrant-e1455508162652.jpg\" alt=\"Graffiti memorializing Oscar Grant.\" width=\"450\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Graffiti memorializing Oscar Grant. \u003ccite>(Photo: Elliot Johnson / Courtesy Oscar Grant Memorial Arts Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2009\u003c/h3>\n\u003cp>Oscar Grant is killed in Oakland on New Year’s morning by BART police officer Johannes Mehserle — his death sparks numerous protests and creative actions, including the \u003ca href=\"http://reimaginerpe.org/rpe/oscar\" target=\"_blank\" rel=\"noopener\">Oscar Grant Memorial Arts Project\u003c/a>, as well as inspiration for Bay Area filmmaker Ryan Coogler’s critically acclaimed \u003ci>Fruitvale Station\u003c/i>, which wins the Grand Jury Prize at Sundance Film Festival and Best First Film at Cannes Film Festival, both in 2013. Grant’s death, along with that of Trayvon Martin in Florida, is among the events that catapult the \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> movement into action in July 2013.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>2013\u003c/h3>\n\u003cp>\u003ca href=\"http://antievictionmappingproject.net/\" target=\"_blank\" rel=\"noopener\">The Anti-Eviction Mapping Project\u003c/a> is founded by a group of artists, activists and technologists to create visual maps of San Francisco’s eviction crisis. The visually compelling maps succinctly data map the city’s housing crisis and draw international media attention to how these shifts implicate new wealth in the city’s revitalized technology sector.\u003c/p>\n\u003ch3>2013 February\u003c/h3>\n\u003cp>Writer, historian and activist Rebecca Solnit pens \u003ca href=\"http://www.lrb.co.uk/v35/n03/rebecca-solnit/diary\" target=\"_blank\" rel=\"noopener\">an incendiary essay\u003c/a> on the rapid changes in San Francisco for the \u003ci>London Review of Books\u003c/i>. The article becomes an international sensation, drawing greater attention to the changes happening in the city and spawning an avalanche of media coverage on the city’s tech boom.\u003c/p>\n\u003cfigure id=\"attachment_11327798\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327798\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Nieto.jpg\" alt=\"Aztec dancers march for Alejandro Nieto in March 2014.\" width=\"1568\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto.jpg 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Nieto-960x613.jpg 960w\" sizes=\"(max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">Aztec dancers march for Alejandro Nieto in March 2014. \u003ccite>(Photo: Alex Emslie/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2014 March\u003c/h3>\n\u003cp>Alex Nieto is killed by San Francisco police in a hail of 59 bullets fired into Bernal Hill Park at twilight. The Mission community, led by several artists, including writer \u003ca href=\"http://www.unsettlers.org/\" target=\"_blank\" rel=\"noopener\">Adriana Camarena\u003c/a> and poet and author \u003ca href=\"https://todobododown.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Benjamin Bac Sierra\u003c/a>, organizes \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Justice for Alex Nieto\u003c/a> to undertake a series of creative protests demanding information. The protests include \u003ca href=\"http://ww2.hdnux.com/photos/33/34/02/7192741/5/1024x1024.jpg\" target=\"_blank\" rel=\"noopener\">media interventions\u003c/a> during the 2014 playoffs and World Series at AT&T Park.\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/FZkXZQGbnJs'\n title='//www.youtube.com/embed/FZkXZQGbnJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>2014 April\u003c/h3>\n\u003cp>Building on the success of previous tech shuttle bus protests, a group of artists and activists from the organization Heart of the City \u003ca href=\"http://www.motherjones.com/mojo/2014/04/google-bus-protest-most-san-francisco-thing-ever\" target=\"_blank\" rel=\"noopener\">stage a theatrical demonstration\u003c/a> at 24th and Valencia Streets to draw attention to a proposed tax hike on public transportation. Complete with colorful costumes and a walking surveillance camera on stilts, \u003ci>Mother Jones\u003c/i> calls the performance protest “the most San Francisco Thing ever.”\u003c/p>\n\u003cfigure id=\"attachment_11327799\" class=\"wp-caption alignleft\" style=\"max-width: 541px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11327799\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Black.Seed-Bay-Bridge-Shut-down_Reclaim-MLK_011816_Source-www.baybridgeinfo.orgconstruction-cams-e1455508207943.png\" alt=\"View from the construction cameras on the Bay Bride during the Black.Seed protest.\" width=\"541\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">View from the construction cameras on the Bay Bride during the Black.Seed protest. \u003ccite>(Source: baybridgeinfo.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2016\u003c/h3>\n\u003cp>Responding to a nationwide call to \u003ca href=\"https://twitter.com/hashtag/reclaimmlk\" target=\"_blank\" rel=\"noopener\">#ReclaimMLK\u003c/a> through 96 hours of direct action over the weekend preceding Martin Luther King, Jr. Day, Black.Seed, a queer liberation collective, shuts down the west-bound span of the Bay Bridge to demand justice for Bay Area victims of police brutality. A temporary radio station broadcasts the event and it is live-tweeted by the \u003ca href=\"http://www.antipoliceterrorproject.org/new-blog/2016/1/18/black-queer-liberation-collective-blackseed-shuts-down-bay-bridge\" target=\"_blank\" rel=\"noopener\">Anti Police-Terror Project\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What would you add to this list of art activism? Feel free contribute your own memories in the comments section below.\u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The world premiere of Mark Jackson’s \u003cem>Little Erik\u003c/em>, a savage and free-wheeling adaption of Henrik Ibsen’s missing child play, \u003cem>Little Eyolf\u003c/em>, is currently underway at Berkeley’s Aurora Theatre. It’s the best play the Aurora has produced in some time. Ibsen was a master at giving his supposedly respectable audiences a taste of their own trash, and Jackson has the same nasty impulse here to skewer the bourgeoisie on the corpses of their children. How perfect that this play should open in one of the most self-regarding cities in America, if not the world.\u003c/p>\n\u003cp>\u003cem>Little Erik\u003c/em> begins in extreme tension and classic form: Joie sits. Andi enters. Andi seems innocent, but guilty. Joie is a wild cat homing in for the kill. At first you have no idea how these women are related. From moment to moment they feel like sisters, or mother/nanny, mother/child, or opposing poles of a \u003cem>ménage a trois\u003c/em>. It’s impossible to tell the nature of their relationship. All we know is that they can barely handle this chance encounter.\u003c/p>\n\u003cp>When we find out Joie and Andi are in fact sisters-in-law, it’s a small-scale psychic shock that unbalances the typical geometry of the family drama. In a world of shimmering rectangles, where the placement of a chair has the feeling of law, these sisters by marriage seem to be overstepping their bounds. It’s as if they are slowly slipping outside the limits of representation.\u003cb> \u003c/b>It’s one of the many ways Jackson streamlines and focuses the overwrought melodrama of Ibsen’s original.\u003c/p>\n\u003cfigure id=\"attachment_11317912\" class=\"wp-caption alignright\" style=\"max-width: 297px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11317912\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/LittleErik2.jpg\" alt=\"LittleErik2\" width=\"297\" height=\"410\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Andi (Mariah Castle) and Joie (Marilee Talkington). Photo: David Allen.\u003c/figcaption>\u003c/figure>\n\u003cp>Andi seems too much a sister and way too much of an aunt, while Joie is clearly too little a wife and mother. They hover on the edge of their roles, and actresses Marilee Talkington (Joie) and Mariah Castle (Andi) slip between the obvious and opaque with haunting results. We know these people. They have the scent of cliché. And yet they keep tripping back into the unknowable.\u003c/p>\n\u003cp>By the time husband and brother Freddie enters with son and nephew Little Erik on his back, we’re longing for clarity, and these carefree fellows provide it. Freddie is exactly what we expect: a charismatic charlatan capable of keeping sister, wife, and child locked in his thrall. And Joe Estlack certainly knows how to play a man who believes that he’s the loveliest thing God has ever created. And Little Erik? Well, he’s the riot we’ve all been waiting for.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That a physically impaired child, his foot pointing at an impossibly oblique angle, should signal both dramatic action and his parents’ failures is an obscenity. And that’s the beauty of both Ibsen’s play, Jackson’s liberal re-imagining of it, and young Jack Wittmayer’s striking and controlled performance as Erik. We’re asked to see purely symbolic relations realized in strict realism, as if deformity itself could speak for a society’s ills. It can’t, but then the play proceeds as if it can and you’re forced into the ugly position of nodding your head in agreement: yes, this is what a life of heedless self-involvement will get you—a deformed kid.\u003c/p>\n\u003cp>That’s about as morally suspect as you can get (just wait until the Mexican witch appears) and yet by embracing a clichéd and flawed symbolism, Jackson forces us to take account of how we mis-perceive the world. The symbolic elements of \u003cem>Little Erik\u003c/em> aren’t there as an aesthetic, but rather as a strategy to a more forceful realism and accounting of the world. And for the first 70 minutes of this 80-minute play, Jackson achieves a terrific balance between our corrupt fantasies and his steely commitment to depicting them.\u003c/p>\n\u003cp>Unfortunately, Jackson ultimately abandons realism for symbolism. Instead of having his characters stumble towards some sort of peace or hell, he uses nature as an idea–brute and arbitrary–to end the play. This misses the dramatic logic of the drama’s singular image and title: Little Erik’s body and Wittmayer’s commanding performance.\u003c/p>\n\u003cp>It’s a disappointing end to an otherwise excellent night out at the theater. But it’s also a demonstration of how difficult morally-engaged, aesthetically-daring art can be. There’s Jackson walking a tightrope, and when he reaches the end, looking for one more flourish, he falls. And you can’t help but think about the boy Erik, and how his misshapen body is overburdened with an excess of meaning. Even mangled, both character and play demand our attention. We cannot look away.\u003c/p>\n\u003cfigure id=\"attachment_11317910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11317910 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/netherinterrogation-800x533.jpg\" alt=\"netherinterrogation\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/netherinterrogation-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/netherinterrogation-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/netherinterrogation-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/netherinterrogation-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/netherinterrogation-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/netherinterrogation-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From right to left: Morris (Ruibo Qian) interrogates Doyle (Louis Parnell). Photo: Jessica Palopoli.\u003c/figcaption>\u003c/figure>\n\u003cp>In Jennifer Haley’s sci-fi thriller, \u003cem>The Nether\u003c/em>, at SF Playhouse, the dramatist does the looking away for us, as the play is quite explicit about what we are not seeing: a pedophile’s dream of the perfectly available little girl; the brutal rejection of that dream in ritual violence; and finally, the fantasy of knowing that none of it matters, that you can indulge in your most heinous desires without consequence. Or in more brutal terms, \u003cem>The Nether\u003c/em> is about fucking a child, killing a child, and then having the pleasure of that child coming back to life for more of the same for as long as you want.\u003c/p>\n\u003cp>All of this plays out over the well-worn clichés of cop drama and dystopic science fiction. Morris, a young and startlingly unconvincing detective, interrogates Sims, a flustered gentleman of the old school, over his creation of a virtual reality website for pedophiles called “the Hideaway.” Sims, aka Papa, argues that he’s within his rights, that it is not real, that there are no actual children involved, and that by providing an outlet for deviants he’s making the real world safer. Haley’s writing style in these interrogation scenes is classic \u003cem>Law & Order\u003c/em>, only with inferior craftsmanship and thought.\u003c/p>\n\u003cp>The scenes in the fantasy world of the Hideaway are better, especially those between a customer, Doyle, aka Woodnut, and Iris, a pre-pubescent, virtual girl. But there’s a lie at the center of this play that has to do with the casting of an actual child in the role of a virtual one.\u003c/p>\n\u003cp>Great moral art should make you feel uncomfortable. But here the discomfort has nothing to do with artistry. When the virtual Iris begins her seduction of Woodnut, what we are really watching is a young actress enact the fantasies of a pedophile. It is the exact opposite of what the play would have us understand we’re experiencing: Haley believes she’s depicting a virtual encounter, but we’re actually seeing and experiencing a real one, albeit under the guise of fiction. It’s a misapprehension of the theater, where every actor’s body is fundamentally real, especially a child’s, and especially when that child is initiating sex with an adult.\u003c/p>\n\u003cp>That Haley ends the scene before anything technically happens is a necessity of casting a child. But her decision underscores a rather technical notion of what’s appropriate for a child to perform. Both the playwright and SF Playhouse seem to believe that it is merely the depiction of sex that must be avoided. This seems naïve—at least to me.\u003c/p>\n\u003cp>This inability of the producers to think through the ethics and mechanics of production, alongside the playwright’s limited notion of realism and reticence to depict the full obscenity of pedophilia, are all signs of a bankrupt imagination. Would it matter if Haley were a better writer? Could she then get away with casting a child? Probably, yes. But that play would be something immense, wild, and caring, where all we have here is the narcissism of false daring.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Little Erik\u003c/em> runs through February 28th at the Aurora Theater in Berkeley. For tickets and information visit www.auroratheatre.org.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Nether\u003c/em> runs through March 5th at the SF Playhouse in San Francisco. For tickets and information visit www.sfplayhouse.org\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The world premiere of Mark Jackson’s \u003cem>Little Erik\u003c/em>, a savage and free-wheeling adaption of Henrik Ibsen’s missing child play, \u003cem>Little Eyolf\u003c/em>, is currently underway at Berkeley’s Aurora Theatre. It’s the best play the Aurora has produced in some time. Ibsen was a master at giving his supposedly respectable audiences a taste of their own trash, and Jackson has the same nasty impulse here to skewer the bourgeoisie on the corpses of their children. How perfect that this play should open in one of the most self-regarding cities in America, if not the world.\u003c/p>\n\u003cp>\u003cem>Little Erik\u003c/em> begins in extreme tension and classic form: Joie sits. Andi enters. Andi seems innocent, but guilty. Joie is a wild cat homing in for the kill. At first you have no idea how these women are related. From moment to moment they feel like sisters, or mother/nanny, mother/child, or opposing poles of a \u003cem>ménage a trois\u003c/em>. It’s impossible to tell the nature of their relationship. All we know is that they can barely handle this chance encounter.\u003c/p>\n\u003cp>When we find out Joie and Andi are in fact sisters-in-law, it’s a small-scale psychic shock that unbalances the typical geometry of the family drama. In a world of shimmering rectangles, where the placement of a chair has the feeling of law, these sisters by marriage seem to be overstepping their bounds. It’s as if they are slowly slipping outside the limits of representation.\u003cb> \u003c/b>It’s one of the many ways Jackson streamlines and focuses the overwrought melodrama of Ibsen’s original.\u003c/p>\n\u003cfigure id=\"attachment_11317912\" class=\"wp-caption alignright\" style=\"max-width: 297px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11317912\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/LittleErik2.jpg\" alt=\"LittleErik2\" width=\"297\" height=\"410\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Andi (Mariah Castle) and Joie (Marilee Talkington). Photo: David Allen.\u003c/figcaption>\u003c/figure>\n\u003cp>Andi seems too much a sister and way too much of an aunt, while Joie is clearly too little a wife and mother. They hover on the edge of their roles, and actresses Marilee Talkington (Joie) and Mariah Castle (Andi) slip between the obvious and opaque with haunting results. We know these people. They have the scent of cliché. And yet they keep tripping back into the unknowable.\u003c/p>\n\u003cp>By the time husband and brother Freddie enters with son and nephew Little Erik on his back, we’re longing for clarity, and these carefree fellows provide it. Freddie is exactly what we expect: a charismatic charlatan capable of keeping sister, wife, and child locked in his thrall. And Joe Estlack certainly knows how to play a man who believes that he’s the loveliest thing God has ever created. And Little Erik? Well, he’s the riot we’ve all been waiting for.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That a physically impaired child, his foot pointing at an impossibly oblique angle, should signal both dramatic action and his parents’ failures is an obscenity. And that’s the beauty of both Ibsen’s play, Jackson’s liberal re-imagining of it, and young Jack Wittmayer’s striking and controlled performance as Erik. We’re asked to see purely symbolic relations realized in strict realism, as if deformity itself could speak for a society’s ills. It can’t, but then the play proceeds as if it can and you’re forced into the ugly position of nodding your head in agreement: yes, this is what a life of heedless self-involvement will get you—a deformed kid.\u003c/p>\n\u003cp>That’s about as morally suspect as you can get (just wait until the Mexican witch appears) and yet by embracing a clichéd and flawed symbolism, Jackson forces us to take account of how we mis-perceive the world. The symbolic elements of \u003cem>Little Erik\u003c/em> aren’t there as an aesthetic, but rather as a strategy to a more forceful realism and accounting of the world. And for the first 70 minutes of this 80-minute play, Jackson achieves a terrific balance between our corrupt fantasies and his steely commitment to depicting them.\u003c/p>\n\u003cp>Unfortunately, Jackson ultimately abandons realism for symbolism. Instead of having his characters stumble towards some sort of peace or hell, he uses nature as an idea–brute and arbitrary–to end the play. This misses the dramatic logic of the drama’s singular image and title: Little Erik’s body and Wittmayer’s commanding performance.\u003c/p>\n\u003cp>It’s a disappointing end to an otherwise excellent night out at the theater. But it’s also a demonstration of how difficult morally-engaged, aesthetically-daring art can be. There’s Jackson walking a tightrope, and when he reaches the end, looking for one more flourish, he falls. And you can’t help but think about the boy Erik, and how his misshapen body is overburdened with an excess of meaning. Even mangled, both character and play demand our attention. We cannot look away.\u003c/p>\n\u003cfigure id=\"attachment_11317910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11317910 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/netherinterrogation-800x533.jpg\" alt=\"netherinterrogation\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/netherinterrogation-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/netherinterrogation-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/netherinterrogation-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/netherinterrogation-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/netherinterrogation-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/netherinterrogation-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From right to left: Morris (Ruibo Qian) interrogates Doyle (Louis Parnell). Photo: Jessica Palopoli.\u003c/figcaption>\u003c/figure>\n\u003cp>In Jennifer Haley’s sci-fi thriller, \u003cem>The Nether\u003c/em>, at SF Playhouse, the dramatist does the looking away for us, as the play is quite explicit about what we are not seeing: a pedophile’s dream of the perfectly available little girl; the brutal rejection of that dream in ritual violence; and finally, the fantasy of knowing that none of it matters, that you can indulge in your most heinous desires without consequence. Or in more brutal terms, \u003cem>The Nether\u003c/em> is about fucking a child, killing a child, and then having the pleasure of that child coming back to life for more of the same for as long as you want.\u003c/p>\n\u003cp>All of this plays out over the well-worn clichés of cop drama and dystopic science fiction. Morris, a young and startlingly unconvincing detective, interrogates Sims, a flustered gentleman of the old school, over his creation of a virtual reality website for pedophiles called “the Hideaway.” Sims, aka Papa, argues that he’s within his rights, that it is not real, that there are no actual children involved, and that by providing an outlet for deviants he’s making the real world safer. Haley’s writing style in these interrogation scenes is classic \u003cem>Law & Order\u003c/em>, only with inferior craftsmanship and thought.\u003c/p>\n\u003cp>The scenes in the fantasy world of the Hideaway are better, especially those between a customer, Doyle, aka Woodnut, and Iris, a pre-pubescent, virtual girl. But there’s a lie at the center of this play that has to do with the casting of an actual child in the role of a virtual one.\u003c/p>\n\u003cp>Great moral art should make you feel uncomfortable. But here the discomfort has nothing to do with artistry. When the virtual Iris begins her seduction of Woodnut, what we are really watching is a young actress enact the fantasies of a pedophile. It is the exact opposite of what the play would have us understand we’re experiencing: Haley believes she’s depicting a virtual encounter, but we’re actually seeing and experiencing a real one, albeit under the guise of fiction. It’s a misapprehension of the theater, where every actor’s body is fundamentally real, especially a child’s, and especially when that child is initiating sex with an adult.\u003c/p>\n\u003cp>That Haley ends the scene before anything technically happens is a necessity of casting a child. But her decision underscores a rather technical notion of what’s appropriate for a child to perform. Both the playwright and SF Playhouse seem to believe that it is merely the depiction of sex that must be avoided. This seems naïve—at least to me.\u003c/p>\n\u003cp>This inability of the producers to think through the ethics and mechanics of production, alongside the playwright’s limited notion of realism and reticence to depict the full obscenity of pedophilia, are all signs of a bankrupt imagination. Would it matter if Haley were a better writer? Could she then get away with casting a child? Probably, yes. But that play would be something immense, wild, and caring, where all we have here is the narcissism of false daring.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Little Erik\u003c/em> runs through February 28th at the Aurora Theater in Berkeley. For tickets and information visit www.auroratheatre.org.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Nether\u003c/em> runs through March 5th at the SF Playhouse in San Francisco. For tickets and information visit www.sfplayhouse.org\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "AFI Singer Starts Supergroup with Members of No Doubt",
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"content": "\u003cp>In Thursday’s edition of “did not expect that” news, \u003ca href=\"http://www.billboard.com/articles/news/magazine-feature/6874737/afi-singer-no-doubt-members-form-supergroup\" target=\"_blank\" rel=\"noopener\">Billboard is reporting\u003c/a> that Davey Havok, lead singer of the Bay Area-based rock group AFI, has started a supergroup with all the members of No Doubt who aren’t Gwen Stefani: guitarist Tom Dumont, bassist Tony Kanal, and drummer Adrian Young.\u003c/p>\n\u003cp>As of press time, the band is unnamed and without a label but they do have a manager — Green Day’s Pat Magnarella — and have already completed their first record, according to reports.\u003c/p>\n\u003cp>The Voltron-like assemblage of this new group, which could be best described as the emo/ska/pop version of \u003ca href=\"https://en.wikipedia.org/wiki/Audioslave\" target=\"_blank\" rel=\"noopener\">Audioslave,\u003c/a> comes at an opportune time for both bands. Last year, after a successful tour pushing the disappointing \u003ci>Push and Shove\u003c/i>, Stefani hired a new manager and began concentrating on her next solo album, leaving her longtime group in the lurch. As for Havok, AFI, which he co-founded while living in Ukiah back in the early ’90s, haven’t released a new album since 2013’s \u003ci>Burials.\u003c/i>\u003c/p>\n\u003cp>The question is, what will this group sound like? Audioslave, a collaboration between Soundgarden’s Chris Cornell and the non-singing members of Rage Against the Machine, certainly created music that sounded well-beyond a simple mashup between their two former groups. Being that both bands come from punk backgrounds — remember when No Doubt \u003ca href=\"https://www.youtube.com/watch?v=PWIzAjZqUcw\" target=\"_blank\" rel=\"noopener\">covered Bad Brains\u003c/a>? — one could guess that they’ll tap into this common ground. Maybe Havok will even bust out his old jar of pomade and go back to aping Misfits-era Glenn Danzig?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L4R8C4HblkM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"description": "In Thursday's edition of "did not expect that" news, Billboard is reporting that Davey Havok, lead singer of the Bay Area-based rock group AFI, has started a supergroup with all the members of No Doubt who aren't Gwen Stefani: guitarist Tom Dumont, bassist Tony Kanal, and drummer Adrian Young. As of press time, the band is unnamed and without a label but they do have a manager -- Green Day's Pat Magnarella -- and have already completed their first record, according to reports. The Voltron-like assemblage of this new group, which could be best described as the emo/ska/pop version of Audioslave,",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Thursday’s edition of “did not expect that” news, \u003ca href=\"http://www.billboard.com/articles/news/magazine-feature/6874737/afi-singer-no-doubt-members-form-supergroup\" target=\"_blank\" rel=\"noopener\">Billboard is reporting\u003c/a> that Davey Havok, lead singer of the Bay Area-based rock group AFI, has started a supergroup with all the members of No Doubt who aren’t Gwen Stefani: guitarist Tom Dumont, bassist Tony Kanal, and drummer Adrian Young.\u003c/p>\n\u003cp>As of press time, the band is unnamed and without a label but they do have a manager — Green Day’s Pat Magnarella — and have already completed their first record, according to reports.\u003c/p>\n\u003cp>The Voltron-like assemblage of this new group, which could be best described as the emo/ska/pop version of \u003ca href=\"https://en.wikipedia.org/wiki/Audioslave\" target=\"_blank\" rel=\"noopener\">Audioslave,\u003c/a> comes at an opportune time for both bands. Last year, after a successful tour pushing the disappointing \u003ci>Push and Shove\u003c/i>, Stefani hired a new manager and began concentrating on her next solo album, leaving her longtime group in the lurch. As for Havok, AFI, which he co-founded while living in Ukiah back in the early ’90s, haven’t released a new album since 2013’s \u003ci>Burials.\u003c/i>\u003c/p>\n\u003cp>The question is, what will this group sound like? Audioslave, a collaboration between Soundgarden’s Chris Cornell and the non-singing members of Rage Against the Machine, certainly created music that sounded well-beyond a simple mashup between their two former groups. Being that both bands come from punk backgrounds — remember when No Doubt \u003ca href=\"https://www.youtube.com/watch?v=PWIzAjZqUcw\" target=\"_blank\" rel=\"noopener\">covered Bad Brains\u003c/a>? — one could guess that they’ll tap into this common ground. Maybe Havok will even bust out his old jar of pomade and go back to aping Misfits-era Glenn Danzig?\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/L4R8C4HblkM'\n title='//www.youtube.com/embed/L4R8C4HblkM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At the University of California Berkeley’s \u003ca href=\"http://www.ucnrs.org/reserves/sagehen-creek-field-station.html\" target=\"_blank\" rel=\"noopener\">Sagehen Creek Field Station\u003c/a> in the Eastern Sierra Nevada, small groups of plant species weather out a harsh winter under several feet of snow. There’s not much to see, let alone anything that resembles art. But hard though it may be to believe, the specimens are in fact part of the latest game-changing ecological art project by \u003ca href=\"http://theharrisonstudio.net/\" target=\"_blank\" rel=\"noopener\">Helen Mayer Harrison and Newton Harrison\u003c/a>.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/246555541″ 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\u003cfigure id=\"attachment_11317173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11317173\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-800x402.jpg\" alt='One of the Harrisons many eye-catching maps: \"The Sagehen ecosystem and experimental sites\"' width=\"800\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-800x402.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-400x201.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-1180x593.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-960x482.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990.jpg 1346w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the Harrisons many eye-catching maps: “The Sagehen ecosystem and experimental sites” \u003ccite>(Photo: Courtesy of The Harrison Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Widely known as the parents of the eco-art movement, the Harrisons have become world-renowned for using art to tackle environmental problems on a massive, global scale. Over more than four decades, the Santa Cruz-based husband-and-wife team have inspired the public to get behind environmental issues, from climate change to the impact of urbanization on the ecosystem — and on occasion have even successfully helped to bring about high-level environmental policy change.\u003c/p>\n\u003cp>“These are million-square-kilometer problems,” says Newton of the issues that he and Helen address with their work.\u003cbr>\n“What we have to be concerned about is what is happening to the entire planet,” Helen says. “What we are concerned about is the survival of the people and all living things.”\u003c/p>\n\u003cp>The Harrisons’ acclaim is so great that a few years ago the Getty Research Institute and Stanford University both expressed interest in housing their archives. \u003ca href=\"https://lib.stanford.edu/art-architecture-library/four-decades-selections-helen-and-newton-harrison-papers\" target=\"_blank\" rel=\"noopener\">Stanford won\u003c/a>. “We are delighted that the Helen and Newton Harrison archive came to Stanford University,” says Peter Blank, Senior Librarian at Stanford’s Bowes Art & Architecture Library. “Their engagement with the hard questions of our day — what are our shared responsibilities on a planet fraught with ecological uncertainties — and the manner in which they integrate the arts and sciences has resulted in a remarkably rich body of work.” And now the artists, who are both in their eighties, are the subject of a kaleidoscopic book, which Random House will put out later this year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>A 50-year-long project in the Sierra Nevada\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11314288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11314288\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-800x535.jpg\" alt=\"Under deep snow at UC Berkeley Sagehen Creek Field Station in the Eastern Sierra Nevada, groups of plant species hibernate as part of a 50-year-long environmental art project implemented by The Harrisons in collaboration with scientists and members of the Washoe Tribe.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-960x642.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Under deep snow at UC Berkeley Sagehen Creek Field Station in the Eastern Sierra Nevada, groups of plant species hibernate as part of a 50-year-long environmental art project implemented by The Harrisons in collaboration with scientists and members of the Washoe Tribe. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sagehen, the Harrisons are collaborating with a small team of scientists and members of the Washoe Tribe on a 50-year-long project. It involves physically moving groups of plant species like wild rose and red fir to higher ground with the aim of helping the seedlings become resilient both to the warming effects of climate change and at different altitudes. The Sagehen investigation is part of an even bigger project, entitled \u003cem>The Force Majeure\u003c/em>, which looks at finding solutions to two problems through conducting experiments in four different parts of the world — encroaching water levels and rising temperatures.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“These are two vast forces that we have speeded up to say the least,” Newton says of co-opting the legal term “force majeure” which means a huge power that cannot be controlled, kind of like an act of god. “We consider them a force majeure. Why? G\u003c/span>\u003cspan style=\"font-weight: 400\">o ahead and stop them if you can. But there may be a counter-force on the horizon and that is what we search for.”\u003c/span>\u003c/p>\n\u003cp>The Harrisons’ deep interest in involving people of the Washoe Tribe — who for thousands of years \u003cspan style=\"font-weight: 400\">have called the Sagehen area and beyond their ancestral home\u003c/span> — adds an important dimension to the project because of the Native Americans’ deep knowledge of the local ecosystem and its indigenous species. Tribal elder Benny Fillmore says this is the first time he’s ever been asked by anyone outside of his tribe to collaborate on an art project. “I think it’s really rare in this day and age as tribal members to be given a hand in such a big project,” Fillmore says.\u003c/p>\n\u003cfigure id=\"attachment_11314392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11314392\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-800x549.jpg\" alt='UC Berkeley Sagehen Creek Field Station scientists Jeff Brown and Faerthen Felix. The scientists are collaborating with Newton and Helen Harrison on one part of their massive, global \"Force Majeure\" project. Here we see them posing in front of another site-specific art project on site at Sagehen.' width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-400x274.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-1180x809.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-1920x1317.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-960x658.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">UC Berkeley Sagehen Creek Field Station managers Jeff Brown and Faerthen Felix. Sagehen is collaborating with Newton and Helen Harrison on one part of their massive, global “Force Majeure” project. Here we see them posing in front of another site-specific art project on site at Sagehen, “Invisible Barn”. \u003ccite>(Photo: Chloe Veltman/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Harrisons’ ability to connect people and ideas that normally wouldn’t come into contact with one another is one of their greatest assets. Sagehen field station manager, Faerthen Felix, says the station’s relationship with the Harrisons is helping to find a wider audience for important but usually dry scientific data. “The problem is that science is by nature a non-emotional process,” Felix says. “You have to be dispassionate. The data has to speak for itself. But that’s not what humans are like. Emotion is what drives us. And emotion is the raw material that artists use.”\u003c/p>\n\u003cp>Felix’s colleague, Jeff Brown, says the Harrisons’ art — for instance, the huge, colorful, topographical maps they create for many of their projects — helps transform cold science into a meaningful story. “They’re allowed to get visceral,” Brown says. “They’re allowed to get emotive. They’re allowed to connect with people in ways science just can’t.”\u003c/p>\n\u003cp>\u003cstrong>Shaping environmental policy in Holland\u003c/strong>\u003c/p>\n\u003cp>This quality has enabled the Harrisons to shape environmental policy. In the mid-1990s, a branch of the Dutch government challenged the artists to solve an enormous urban planning problem: how to build hundreds of thousands of new houses while protecting the country’s lush green lowlands. The Harrisons created beautiful aerial landscape videos to bewitch the initially skeptical officials. They also audaciously exhibited a big map of Holland — printed backwards. “The planners got mad at us and they said, ‘Why have you done this?’ Newton recalls. “And we said, ‘Well you’re planning your country backwards, so we printed your map backwards.’”\u003c/p>\n\u003cfigure id=\"attachment_11318892\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11318892\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1.jpg\" alt=\"To get their message across to the Dutch authorities, the Harrisons audaciously created and exhibited a map of Holland --printed backwards \" width=\"600\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1-400x323.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">To get their message across to the Dutch authorities, the Harrisons audaciously created and exhibited a map of Holland –printed backwards \u003ccite>(Courtesy: The Harrison Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It wasn’t that easy to convince the politicians,” says Adriaan De Regt, who was a cultural official for South Holland at the time the Harrisons undertook their \u003cem>\u003ca href=\"http://theharrisonstudio.net/?page_id=534\" target=\"_blank\" rel=\"noopener\">Green Heart of Holland\u003c/a>\u003c/em> project. “It took some time before they saw that the plan from the Harrisons was a good idea.”\u003c/p>\n\u003cp>The American couple eventually won over the Dutch officials, who adopted their vision. Bill Fox, who runs the \u003ca href=\"https://www.nevadaart.org/ae/\" target=\"_blank\" rel=\"noopener\">Center for Art and the Environment at the Museum of Nevada\u003c/a> and has worked closely with the Harrisons in recent years, says the Harrisons’ work is persuasive because it successfully bridges the worlds of politics and science. “They create these beautiful maps and poetic texts, and do these exhibitions about the problem that really creates empathy for a place,” Fox says. “Once you begin to care about place, you will care about what happens to that place.”\u003c/p>\n\u003cp>\u003cstrong>Fomenting environmental activism in San Diego\u003c/strong>\u003c/p>\n\u003cp>The Harrisons first met in 1950 at Helen’s family farm in Connecticut. Newton was a budding sculptor still in his teens, and Helen, a few years his senior, a teacher, philosopher and student of English literature. The couple didn’t formally start working on art projects together until 1969, when they both landed jobs at the University of California, San Diego. Newton taught art and Helen ran educational programs.\u003c/p>\n\u003cp>It was a combination of biological research and the publication of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Silent_Spring\" target=\"_blank\" rel=\"noopener\">Silent Spring\u003c/a>\u003c/em>, Rachel Carson’s seminal book about environmental destruction, that pushed them towards working on art projects in service of the environment together. “We made a decision to do no work that didn’t benefit the ecology, as neither of us could face that alone,” says Newton. “That’s how our collaboration began.”\u003c/p>\n\u003cp>\u003cstrong>Electrocuting catfish in London\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11317170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11317170\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/8-2R-800x531.jpg\" alt=\"People exploring the Harrisons' "Portable Fish Farm" installation in 1971\" width=\"800\" height=\"531\">\u003cfigcaption class=\"wp-caption-text\">People exploring the Harrisons’ “Portable Fish Farm” installation in 1971 \u003ccite>(Photo: Courtesy of Ronald Feldman Fine Arts, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes the couple’s art has gotten them into trouble. In 1971, the Harrisons were part of a high-profile exhibition at London’s Hayward Gallery. For their \u003ca href=\"http://theharrisonstudio.net/?page_id=192\" target=\"_blank\" rel=\"noopener\">installation about the sustainability of farming practices\u003c/a>, they electrocuted catfish and made stew for museumgoers. It caused an uproar. Helen says that although the fish were humanely killed, many people couldn’t see past the shock value. “People wanted the government to cancel our show,” she says. The tabloid press went berserk. Newton lights up at the memory. “Helen made a weird version of bouillabaisse,” he says. “It smelled so good that nobody went to the other exhibitions.”\u003c/p>\n\u003cp>Composer Edward Lambert even turned the debacle into a chamber opera entitled \u003cem>\u003ca href=\"http://www.tete-a-tete.org.uk/catfish-conundrum/\" target=\"_blank\" rel=\"noopener\">The Catfish Conundrum\u003c/a>\u003c/em> two years ago, with Newton Harrison and the catfish among the characters represented on stage.\u003c/p>\n\u003cp>\u003cem>Watch a video of the entire opera, performed in 2014 by The Music Troupe of London:\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Catfish Conundrum\" src=\"https://player.vimeo.com/video/113147541?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>It wasn’t just audiences that balked at the Harrisons’ work in the early days. Because of the couple’s scientific leanings, the art establishment was also fairly hostile towards them in the early years. “It took a while for museums to decide that artists could work in these fields and be artists,” says the Harrisons’ longtime New York dealer Ronald Feldman. “So they had a rough road to get attention for their work as artwork.”\u003c/p>\n\u003cp>Today, things are different. The Harrisons’ maps, videos and other visual artifacts can fetch up to hundreds of thousands of dollars on the art market, according to Feldman. And Newton and Helen are considered trailblazers. “Many artists work very well with the sciences,” Feldman says. “Newton and Helen have opened that door for everybody.”\u003c/p>\n\u003cp>The Harrisons aren’t as mobile as they used to be and Helen’s health is particularly fragile. They’re still doggedly focused on their ecological mission, though Newton cautions it’s not up to him and Helen to save the Earth. “You need a big community,” he says. “And that community is slowly forming and the question is will it form quickly enough? Or is mass extinction a fact?”\u003c/p>\n\u003cfigure id=\"attachment_11318771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11318771\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-800x549.png\" alt=\"Helen Mayer Harrison and Newton Harrison with Laura and Benny Fillmore of the Washoe Tribe\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-400x275.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-768x527.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-960x659.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663.png 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helen Mayer Harrison and Newton Harrison with Benny Fillmore of the Washoe Tribe and his daughter, Helen. \u003ccite>(Photo: Courtesy of Laura Fillmore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the University of California Berkeley’s \u003ca href=\"http://www.ucnrs.org/reserves/sagehen-creek-field-station.html\" target=\"_blank\" rel=\"noopener\">Sagehen Creek Field Station\u003c/a> in the Eastern Sierra Nevada, small groups of plant species weather out a harsh winter under several feet of snow. There’s not much to see, let alone anything that resembles art. But hard though it may be to believe, the specimens are in fact part of the latest game-changing ecological art project by \u003ca href=\"http://theharrisonstudio.net/\" target=\"_blank\" rel=\"noopener\">Helen Mayer Harrison and Newton Harrison\u003c/a>.\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/246555541″&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/246555541″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_11317173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11317173\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-800x402.jpg\" alt='One of the Harrisons many eye-catching maps: \"The Sagehen ecosystem and experimental sites\"' width=\"800\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-800x402.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-400x201.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-1180x593.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-960x482.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990.jpg 1346w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the Harrisons many eye-catching maps: “The Sagehen ecosystem and experimental sites” \u003ccite>(Photo: Courtesy of The Harrison Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Widely known as the parents of the eco-art movement, the Harrisons have become world-renowned for using art to tackle environmental problems on a massive, global scale. Over more than four decades, the Santa Cruz-based husband-and-wife team have inspired the public to get behind environmental issues, from climate change to the impact of urbanization on the ecosystem — and on occasion have even successfully helped to bring about high-level environmental policy change.\u003c/p>\n\u003cp>“These are million-square-kilometer problems,” says Newton of the issues that he and Helen address with their work.\u003cbr>\n“What we have to be concerned about is what is happening to the entire planet,” Helen says. “What we are concerned about is the survival of the people and all living things.”\u003c/p>\n\u003cp>The Harrisons’ acclaim is so great that a few years ago the Getty Research Institute and Stanford University both expressed interest in housing their archives. \u003ca href=\"https://lib.stanford.edu/art-architecture-library/four-decades-selections-helen-and-newton-harrison-papers\" target=\"_blank\" rel=\"noopener\">Stanford won\u003c/a>. “We are delighted that the Helen and Newton Harrison archive came to Stanford University,” says Peter Blank, Senior Librarian at Stanford’s Bowes Art & Architecture Library. “Their engagement with the hard questions of our day — what are our shared responsibilities on a planet fraught with ecological uncertainties — and the manner in which they integrate the arts and sciences has resulted in a remarkably rich body of work.” And now the artists, who are both in their eighties, are the subject of a kaleidoscopic book, which Random House will put out later this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A 50-year-long project in the Sierra Nevada\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11314288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11314288\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-800x535.jpg\" alt=\"Under deep snow at UC Berkeley Sagehen Creek Field Station in the Eastern Sierra Nevada, groups of plant species hibernate as part of a 50-year-long environmental art project implemented by The Harrisons in collaboration with scientists and members of the Washoe Tribe.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-960x642.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Under deep snow at UC Berkeley Sagehen Creek Field Station in the Eastern Sierra Nevada, groups of plant species hibernate as part of a 50-year-long environmental art project implemented by The Harrisons in collaboration with scientists and members of the Washoe Tribe. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sagehen, the Harrisons are collaborating with a small team of scientists and members of the Washoe Tribe on a 50-year-long project. It involves physically moving groups of plant species like wild rose and red fir to higher ground with the aim of helping the seedlings become resilient both to the warming effects of climate change and at different altitudes. The Sagehen investigation is part of an even bigger project, entitled \u003cem>The Force Majeure\u003c/em>, which looks at finding solutions to two problems through conducting experiments in four different parts of the world — encroaching water levels and rising temperatures.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“These are two vast forces that we have speeded up to say the least,” Newton says of co-opting the legal term “force majeure” which means a huge power that cannot be controlled, kind of like an act of god. “We consider them a force majeure. Why? G\u003c/span>\u003cspan style=\"font-weight: 400\">o ahead and stop them if you can. But there may be a counter-force on the horizon and that is what we search for.”\u003c/span>\u003c/p>\n\u003cp>The Harrisons’ deep interest in involving people of the Washoe Tribe — who for thousands of years \u003cspan style=\"font-weight: 400\">have called the Sagehen area and beyond their ancestral home\u003c/span> — adds an important dimension to the project because of the Native Americans’ deep knowledge of the local ecosystem and its indigenous species. Tribal elder Benny Fillmore says this is the first time he’s ever been asked by anyone outside of his tribe to collaborate on an art project. “I think it’s really rare in this day and age as tribal members to be given a hand in such a big project,” Fillmore says.\u003c/p>\n\u003cfigure id=\"attachment_11314392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11314392\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-800x549.jpg\" alt='UC Berkeley Sagehen Creek Field Station scientists Jeff Brown and Faerthen Felix. The scientists are collaborating with Newton and Helen Harrison on one part of their massive, global \"Force Majeure\" project. Here we see them posing in front of another site-specific art project on site at Sagehen.' width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-400x274.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-1180x809.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-1920x1317.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-960x658.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">UC Berkeley Sagehen Creek Field Station managers Jeff Brown and Faerthen Felix. Sagehen is collaborating with Newton and Helen Harrison on one part of their massive, global “Force Majeure” project. Here we see them posing in front of another site-specific art project on site at Sagehen, “Invisible Barn”. \u003ccite>(Photo: Chloe Veltman/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Harrisons’ ability to connect people and ideas that normally wouldn’t come into contact with one another is one of their greatest assets. Sagehen field station manager, Faerthen Felix, says the station’s relationship with the Harrisons is helping to find a wider audience for important but usually dry scientific data. “The problem is that science is by nature a non-emotional process,” Felix says. “You have to be dispassionate. The data has to speak for itself. But that’s not what humans are like. Emotion is what drives us. And emotion is the raw material that artists use.”\u003c/p>\n\u003cp>Felix’s colleague, Jeff Brown, says the Harrisons’ art — for instance, the huge, colorful, topographical maps they create for many of their projects — helps transform cold science into a meaningful story. “They’re allowed to get visceral,” Brown says. “They’re allowed to get emotive. They’re allowed to connect with people in ways science just can’t.”\u003c/p>\n\u003cp>\u003cstrong>Shaping environmental policy in Holland\u003c/strong>\u003c/p>\n\u003cp>This quality has enabled the Harrisons to shape environmental policy. In the mid-1990s, a branch of the Dutch government challenged the artists to solve an enormous urban planning problem: how to build hundreds of thousands of new houses while protecting the country’s lush green lowlands. The Harrisons created beautiful aerial landscape videos to bewitch the initially skeptical officials. They also audaciously exhibited a big map of Holland — printed backwards. “The planners got mad at us and they said, ‘Why have you done this?’ Newton recalls. “And we said, ‘Well you’re planning your country backwards, so we printed your map backwards.’”\u003c/p>\n\u003cfigure id=\"attachment_11318892\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11318892\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1.jpg\" alt=\"To get their message across to the Dutch authorities, the Harrisons audaciously created and exhibited a map of Holland --printed backwards \" width=\"600\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1-400x323.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">To get their message across to the Dutch authorities, the Harrisons audaciously created and exhibited a map of Holland –printed backwards \u003ccite>(Courtesy: The Harrison Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It wasn’t that easy to convince the politicians,” says Adriaan De Regt, who was a cultural official for South Holland at the time the Harrisons undertook their \u003cem>\u003ca href=\"http://theharrisonstudio.net/?page_id=534\" target=\"_blank\" rel=\"noopener\">Green Heart of Holland\u003c/a>\u003c/em> project. “It took some time before they saw that the plan from the Harrisons was a good idea.”\u003c/p>\n\u003cp>The American couple eventually won over the Dutch officials, who adopted their vision. Bill Fox, who runs the \u003ca href=\"https://www.nevadaart.org/ae/\" target=\"_blank\" rel=\"noopener\">Center for Art and the Environment at the Museum of Nevada\u003c/a> and has worked closely with the Harrisons in recent years, says the Harrisons’ work is persuasive because it successfully bridges the worlds of politics and science. “They create these beautiful maps and poetic texts, and do these exhibitions about the problem that really creates empathy for a place,” Fox says. “Once you begin to care about place, you will care about what happens to that place.”\u003c/p>\n\u003cp>\u003cstrong>Fomenting environmental activism in San Diego\u003c/strong>\u003c/p>\n\u003cp>The Harrisons first met in 1950 at Helen’s family farm in Connecticut. Newton was a budding sculptor still in his teens, and Helen, a few years his senior, a teacher, philosopher and student of English literature. The couple didn’t formally start working on art projects together until 1969, when they both landed jobs at the University of California, San Diego. Newton taught art and Helen ran educational programs.\u003c/p>\n\u003cp>It was a combination of biological research and the publication of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Silent_Spring\" target=\"_blank\" rel=\"noopener\">Silent Spring\u003c/a>\u003c/em>, Rachel Carson’s seminal book about environmental destruction, that pushed them towards working on art projects in service of the environment together. “We made a decision to do no work that didn’t benefit the ecology, as neither of us could face that alone,” says Newton. “That’s how our collaboration began.”\u003c/p>\n\u003cp>\u003cstrong>Electrocuting catfish in London\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11317170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11317170\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/8-2R-800x531.jpg\" alt=\"People exploring the Harrisons' "Portable Fish Farm" installation in 1971\" width=\"800\" height=\"531\">\u003cfigcaption class=\"wp-caption-text\">People exploring the Harrisons’ “Portable Fish Farm” installation in 1971 \u003ccite>(Photo: Courtesy of Ronald Feldman Fine Arts, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes the couple’s art has gotten them into trouble. In 1971, the Harrisons were part of a high-profile exhibition at London’s Hayward Gallery. For their \u003ca href=\"http://theharrisonstudio.net/?page_id=192\" target=\"_blank\" rel=\"noopener\">installation about the sustainability of farming practices\u003c/a>, they electrocuted catfish and made stew for museumgoers. It caused an uproar. Helen says that although the fish were humanely killed, many people couldn’t see past the shock value. “People wanted the government to cancel our show,” she says. The tabloid press went berserk. Newton lights up at the memory. “Helen made a weird version of bouillabaisse,” he says. “It smelled so good that nobody went to the other exhibitions.”\u003c/p>\n\u003cp>Composer Edward Lambert even turned the debacle into a chamber opera entitled \u003cem>\u003ca href=\"http://www.tete-a-tete.org.uk/catfish-conundrum/\" target=\"_blank\" rel=\"noopener\">The Catfish Conundrum\u003c/a>\u003c/em> two years ago, with Newton Harrison and the catfish among the characters represented on stage.\u003c/p>\n\u003cp>\u003cem>Watch a video of the entire opera, performed in 2014 by The Music Troupe of London:\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Catfish Conundrum\" src=\"https://player.vimeo.com/video/113147541?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>It wasn’t just audiences that balked at the Harrisons’ work in the early days. Because of the couple’s scientific leanings, the art establishment was also fairly hostile towards them in the early years. “It took a while for museums to decide that artists could work in these fields and be artists,” says the Harrisons’ longtime New York dealer Ronald Feldman. “So they had a rough road to get attention for their work as artwork.”\u003c/p>\n\u003cp>Today, things are different. The Harrisons’ maps, videos and other visual artifacts can fetch up to hundreds of thousands of dollars on the art market, according to Feldman. And Newton and Helen are considered trailblazers. “Many artists work very well with the sciences,” Feldman says. “Newton and Helen have opened that door for everybody.”\u003c/p>\n\u003cp>The Harrisons aren’t as mobile as they used to be and Helen’s health is particularly fragile. They’re still doggedly focused on their ecological mission, though Newton cautions it’s not up to him and Helen to save the Earth. “You need a big community,” he says. “And that community is slowly forming and the question is will it form quickly enough? Or is mass extinction a fact?”\u003c/p>\n\u003cfigure id=\"attachment_11318771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11318771\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-800x549.png\" alt=\"Helen Mayer Harrison and Newton Harrison with Laura and Benny Fillmore of the Washoe Tribe\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-400x275.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-768x527.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-960x659.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663.png 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helen Mayer Harrison and Newton Harrison with Benny Fillmore of the Washoe Tribe and his daughter, Helen. \u003ccite>(Photo: Courtesy of Laura Fillmore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "For the Love of Art: Bay Area-Themed Valentines for 2016",
"headTitle": "For the Love of Art: Bay Area-Themed Valentines for 2016 | KQED",
"content": "\u003cp>Valentine’s Day is upon us once again. And in the Bay Area, if you’ve had time to buy Valentine’s gifts, then you’re not working hard enough.\u003c/p>\n\u003cp>Last year we commissioned \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/got-you-covered-valentines-day-cards-for-the-bay-area/\" target=\"_blank\" rel=\"noopener\">six Bay Area-themed valentines from six different local artists\u003c/a> and the results were phenomenal. This year we worked with five artists — one from last year and four new ones — to bring you six more valentines that are just as fantastic.\u003c/p>\n\u003cp>Please share with your art-loving friends…or your lazy ones who you know won’t have their sh*t together in time for the big day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317055\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/KQED-ventines-day.jpg\" alt=\"KQED ventines day\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>First is “I left my art in San Francisco” by San Francisco’s own Aaron Zonka, an artist with large portfolio of paintings, comics and even concert flyers. You can see his work at \u003ca href=\"http://aaronzonka.com/\" target=\"_blank\" rel=\"noopener\">aaronzonka.com.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317056\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine.jpg\" alt=\"MikaylaButchart_valentine\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>A Santa Rosa native and a long-time resident of San Francisco’s Russian Hill, Mikayla Butchart provided us this valentine while she’s earning her MFA in illustration at the School of Visual Arts (but her heart is still in San Francisco). See more of her work at \u003ca href=\"http://www.mikaylabutchart.com/\" target=\"_blank\" rel=\"noopener\">mikaylabutchart.com.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317057\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/seal-of-approval.jpg\" alt=\"seal of approval\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Painter, illustrator, and designer Rebecca Silvers, a San Francisco native, provided us with this “Seal of Approval.” Check out more of her work at \u003ca href=\"http://rebeccasilvers.weebly.com/\" target=\"_blank\" rel=\"noopener\">rebeccasilvers.com\u003c/a>. (She also happens to be the sister of KQED Pop reporter \u003ca href=\"http://ww2.kqed.org/pop/author/esilvers/\" target=\"_blank\" rel=\"noopener\">Emma Silvers\u003c/a>.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/caneedsrain2.jpg\" alt=\"caneedsrain2\" width=\"627\" height=\"849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2-400x542.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2-443x600.jpg 443w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003c/p>\n\u003cp>And then we have the return of Jeff Meadows, local artist and sign painter, who provided us with “I Totes Love You” last year and “California Needs Rain” this year (though thankfully we are finally getting some damn rain.) More of his work can be seen at \u003ca href=\"http://jeff-meadows.com/\" target=\"_blank\" rel=\"noopener\">jeff-meadows.com.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Fog-heart.jpg\" alt=\"Fog heart\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>These next two cards are from Katherine Streeter, a New York City-based collage artist who has been illustrating for various markets worldwide for a long time, and can be seen in publications like \u003cem>American Illustration\u003c/em>, \u003cem>Communication Arts\u003c/em>, and \u003cem>3×3 Illustration Annual\u003c/em>. (She also provided collages for KQED’s \u003ca href=\"http://ww2.kqed.org/news/category/arts-and-culture/love-in-the-digital-age\" target=\"_blank\" rel=\"noopener\">\u003ci>Love in the Digital Age\u003c/i>\u003c/a> podcast.) See more of her work at \u003ca href=\"http://katherinestreeter.tumblr.com/\" target=\"_blank\" rel=\"noopener\">katherinestreeter.tumblr.com\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317058\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/The-Rock.jpg\" alt=\"The Rock\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>If you would like to create a Valentine for 2017, please email \u003ca href=\"mailto:kjones@kqed.org\" target=\"_blank\" rel=\"noopener\">kjones(at)kqed.org\u003c/a> with “Valentine 2017” in the subject.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Valentine’s Day is upon us once again. And in the Bay Area, if you’ve had time to buy Valentine’s gifts, then you’re not working hard enough.\u003c/p>\n\u003cp>Last year we commissioned \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/got-you-covered-valentines-day-cards-for-the-bay-area/\" target=\"_blank\" rel=\"noopener\">six Bay Area-themed valentines from six different local artists\u003c/a> and the results were phenomenal. This year we worked with five artists — one from last year and four new ones — to bring you six more valentines that are just as fantastic.\u003c/p>\n\u003cp>Please share with your art-loving friends…or your lazy ones who you know won’t have their sh*t together in time for the big day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317055\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/KQED-ventines-day.jpg\" alt=\"KQED ventines day\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>First is “I left my art in San Francisco” by San Francisco’s own Aaron Zonka, an artist with large portfolio of paintings, comics and even concert flyers. You can see his work at \u003ca href=\"http://aaronzonka.com/\" target=\"_blank\" rel=\"noopener\">aaronzonka.com.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317056\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine.jpg\" alt=\"MikaylaButchart_valentine\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>A Santa Rosa native and a long-time resident of San Francisco’s Russian Hill, Mikayla Butchart provided us this valentine while she’s earning her MFA in illustration at the School of Visual Arts (but her heart is still in San Francisco). See more of her work at \u003ca href=\"http://www.mikaylabutchart.com/\" target=\"_blank\" rel=\"noopener\">mikaylabutchart.com.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317057\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/seal-of-approval.jpg\" alt=\"seal of approval\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Painter, illustrator, and designer Rebecca Silvers, a San Francisco native, provided us with this “Seal of Approval.” Check out more of her work at \u003ca href=\"http://rebeccasilvers.weebly.com/\" target=\"_blank\" rel=\"noopener\">rebeccasilvers.com\u003c/a>. (She also happens to be the sister of KQED Pop reporter \u003ca href=\"http://ww2.kqed.org/pop/author/esilvers/\" target=\"_blank\" rel=\"noopener\">Emma Silvers\u003c/a>.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/caneedsrain2.jpg\" alt=\"caneedsrain2\" width=\"627\" height=\"849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2-400x542.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2-443x600.jpg 443w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003c/p>\n\u003cp>And then we have the return of Jeff Meadows, local artist and sign painter, who provided us with “I Totes Love You” last year and “California Needs Rain” this year (though thankfully we are finally getting some damn rain.) More of his work can be seen at \u003ca href=\"http://jeff-meadows.com/\" target=\"_blank\" rel=\"noopener\">jeff-meadows.com.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Fog-heart.jpg\" alt=\"Fog heart\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>These next two cards are from Katherine Streeter, a New York City-based collage artist who has been illustrating for various markets worldwide for a long time, and can be seen in publications like \u003cem>American Illustration\u003c/em>, \u003cem>Communication Arts\u003c/em>, and \u003cem>3×3 Illustration Annual\u003c/em>. (She also provided collages for KQED’s \u003ca href=\"http://ww2.kqed.org/news/category/arts-and-culture/love-in-the-digital-age\" target=\"_blank\" rel=\"noopener\">\u003ci>Love in the Digital Age\u003c/i>\u003c/a> podcast.) See more of her work at \u003ca href=\"http://katherinestreeter.tumblr.com/\" target=\"_blank\" rel=\"noopener\">katherinestreeter.tumblr.com\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317058\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/The-Rock.jpg\" alt=\"The Rock\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>If you would like to create a Valentine for 2017, please email \u003ca href=\"mailto:kjones@kqed.org\" target=\"_blank\" rel=\"noopener\">kjones(at)kqed.org\u003c/a> with “Valentine 2017” in the subject.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In an\u003ca href=\"http://www.gq.com/story/justin-bieber-gq-interview?mbid=social_twitter\" target=\"_blank\"> excellent GQ profile\u003c/a> out today, Justin Bieber took the time to remind us all of his birthday, March 1. The perpetually remorseful pop star will be turning 22 next month, but if you want to serenade him with a special YouTube or Instagram video, you should probably wait two weeks afterward to be safe: \u003cspan style=\"line-height: 1.5\">March 14, 2016 will mark the first official day that you can't get hit with a copyright infringement suit for broadcasting a recorded performance of \"Happy Birthday to You.\"\u003c/span>\u003c/p>\n\u003cp>Yes, one of the weirder legal battles of our time has come to an end. The birthday song, a tune most children learn by the time they're 3 years old, will finally enter the public domain.\u003c/p>\n\u003cp>“Happy Birthday to You” was originally written in 1893, by sisters Patty and Mildred Hill. Patty, a kindergarten teacher, said she came up with the song as a \"good morning\" tune for school children; the birthday-specific lyrics were added as an optional verse.\u003c/p>\n\u003cp>Their copyright expired in 1949. Music publisher \u003ca href=\"http://www.warnerchappell.com/song-details/WW001266210000\" target=\"_blank\">Warner/Chappell music\u003c/a> acquired it in 1988 -- and since then has collected about $2 million in royalties a year. (Think about how often you hear the song in movies and on TV. Yeah. It's a lot.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EqolSvoWNck\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As \u003ca href=\"http://ww2.kqed.org/arts/2015/09/15/a-smoking-gun-in-the-case-of-who-owns-happy-birthday-to-you/\" target=\"_blank\">KQED reported last fall\u003c/a>, Bay Area band Rupya and the April Fishes were among the artists who got hit with the reality of said royalties after they wanted to include the song on a live album recorded during a show they performed at the Independent. The show took place on singer Rupya Marya's birthday, and the band -- and audience -- surprised her with a sing-along. But to include the track on the record, Marya discovered, she'd have to pay $455 in royalties.\u003c/p>\n\u003cp>That's when she joined LA filmmaker Jennifer Nelson's class-action lawsuit against the music publisher. The suit's lead plaintiff, Nelson first brought the suit in 2013 after she was charged $1500 to use said song in a documentary she was making about it.\u003c/p>\n\u003cp>A judge ruled in Nelson's favor last year, but Warner/Chappell held to their claim on a couple of wonky technicalities (a separate, 1935 copyright agreement) until \u003ca href=\"http://www.nytimes.com/2016/02/10/business/media/details-of-happy-birthday-copyright-settlement-revealed.html\" target=\"_blank\">settling this week\u003c/a>. The publisher has agreed to pay out some $14 million to people who've paid to use the song.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.documentcloud.org/documents/2706567-Birthday-Settlmemo.html\" target=\"_blank\">memorandum\u003c/a> in support of the settlement adds the following proclamation and/or warning, depending on how you feel about the song to begin with:\u003c/p>\n\u003cp>\"Because Defendants have charged for use of the Song, untold thousands of people chose not to use the Song in their own performances and artistic works or to perform the Song in public. After the settlement is approved, that restraint will be removed and the song will be performed and used far more often than it has been in the past.\"\u003c/p>\n\u003cp>Worth noting: There is nothing in said settlement about performers having to be in tune.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an\u003ca href=\"http://www.gq.com/story/justin-bieber-gq-interview?mbid=social_twitter\" target=\"_blank\"> excellent GQ profile\u003c/a> out today, Justin Bieber took the time to remind us all of his birthday, March 1. The perpetually remorseful pop star will be turning 22 next month, but if you want to serenade him with a special YouTube or Instagram video, you should probably wait two weeks afterward to be safe: \u003cspan style=\"line-height: 1.5\">March 14, 2016 will mark the first official day that you can't get hit with a copyright infringement suit for broadcasting a recorded performance of \"Happy Birthday to You.\"\u003c/span>\u003c/p>\n\u003cp>Yes, one of the weirder legal battles of our time has come to an end. The birthday song, a tune most children learn by the time they're 3 years old, will finally enter the public domain.\u003c/p>\n\u003cp>“Happy Birthday to You” was originally written in 1893, by sisters Patty and Mildred Hill. Patty, a kindergarten teacher, said she came up with the song as a \"good morning\" tune for school children; the birthday-specific lyrics were added as an optional verse.\u003c/p>\n\u003cp>Their copyright expired in 1949. Music publisher \u003ca href=\"http://www.warnerchappell.com/song-details/WW001266210000\" target=\"_blank\">Warner/Chappell music\u003c/a> acquired it in 1988 -- and since then has collected about $2 million in royalties a year. (Think about how often you hear the song in movies and on TV. Yeah. It's a lot.)\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/EqolSvoWNck'\n title='//www.youtube.com/embed/EqolSvoWNck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As \u003ca href=\"http://ww2.kqed.org/arts/2015/09/15/a-smoking-gun-in-the-case-of-who-owns-happy-birthday-to-you/\" target=\"_blank\">KQED reported last fall\u003c/a>, Bay Area band Rupya and the April Fishes were among the artists who got hit with the reality of said royalties after they wanted to include the song on a live album recorded during a show they performed at the Independent. The show took place on singer Rupya Marya's birthday, and the band -- and audience -- surprised her with a sing-along. But to include the track on the record, Marya discovered, she'd have to pay $455 in royalties.\u003c/p>\n\u003cp>That's when she joined LA filmmaker Jennifer Nelson's class-action lawsuit against the music publisher. The suit's lead plaintiff, Nelson first brought the suit in 2013 after she was charged $1500 to use said song in a documentary she was making about it.\u003c/p>\n\u003cp>A judge ruled in Nelson's favor last year, but Warner/Chappell held to their claim on a couple of wonky technicalities (a separate, 1935 copyright agreement) until \u003ca href=\"http://www.nytimes.com/2016/02/10/business/media/details-of-happy-birthday-copyright-settlement-revealed.html\" target=\"_blank\">settling this week\u003c/a>. The publisher has agreed to pay out some $14 million to people who've paid to use the song.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.documentcloud.org/documents/2706567-Birthday-Settlmemo.html\" target=\"_blank\">memorandum\u003c/a> in support of the settlement adds the following proclamation and/or warning, depending on how you feel about the song to begin with:\u003c/p>\n\u003cp>\"Because Defendants have charged for use of the Song, untold thousands of people chose not to use the Song in their own performances and artistic works or to perform the Song in public. After the settlement is approved, that restraint will be removed and the song will be performed and used far more often than it has been in the past.\"\u003c/p>\n\u003cp>Worth noting: There is nothing in said settlement about performers having to be in tune.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The ministers at the St. John Coltrane Church in San Francisco’s Fillmore District started an online petition last week to pressure city officials into helping the church stay in the city, where it’s been since 1969.\u003c/p>\n\u003cp>The church, which bills itself as “the oldest and only church born out of the music of John Coltrane,” reports that its lease is up at its current location on 1286 Fillmore St. According to the petition, the church’s landlords — the owners of the West Bay Conference Center — want to double the church’s rent, leaving ministers with their “backs against the wall.”\u003c/p>\n\u003cp>“The present political climate of profit over people continues to devastate the African American population of the Fillmore, leaving the ‘Coltrane Church’ to stand alone as the sole historic proprietors of the music and culture of jazz as a means to enlighten,” the church’s ministers \u003ca href=\"https://www.change.org/p/west-bay-confrence-center-london-breed-edwin-lee-nadia-sesay-hands-off-the-coltrane-church\" target=\"_blank\" rel=\"noopener\">wrote in their petition\u003c/a>.\u003c/p>\n\u003cp>“The San Francisco Fillmore district, formerly known as the ‘Harlem of the West,’ and the African American population in the district of ‘The Fillmore’ contributed to the culture of blues, jazz and gospel music. Presently the population and culture of the African American community has all been but destroyed, along with its learning institutions, churches and venues of musical expression. The Coltrane Church has and will continue its stance against this kind of injustice.”\u003c/p>\n\u003cp>Started by Franzo and Marina King, the \u003ca href=\"http://www.coltranechurch.org/\" target=\"_blank\" rel=\"noopener\">Saint John Will I Am Coltrane African Orthodox Church\u003c/a> was originally called the Yardbird Temple after the couple turned their jazz club into a religious organization following the saxophone legend’s death (or “Ascension”) in 1967. The couple say they had an “effectual transference of the Holy Ghost through sound” when watching Coltrane perform for the first time in San Francisco back in 1965 and have been preaching the power of his music ever since.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After meeting Coltrane’s wife, Alice, in 1974, the Kings “began to think of John Coltrane’s message in the context of spiritual universalism and to understand how John Coltrane was trying to reach souls even outside of western Christian context,” according to the \u003ca href=\"http://www.coltranechurch.org/#history\" target=\"_blank\" rel=\"noopener\">church’s website\u003c/a>.\u003c/p>\n\u003cp>Changing its name to One Mind Temple in 1971 and later to the Vendantic Center, the church became the Saint John Will I Am Coltrane African Orthodox Church after the Kings joined the African Orthodox Church in 1982. Two years later, Franco King would become an archbishop of the church and Marina would become the supreme mother reverend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The church ends every Sunday mass with a meditation on Coltrane’s \u003ci>A Love Supreme,\u003c/i> and provides food and clothing to the needy.\u003c/p>\n\n",
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"description": "The ministers at the St. John Coltrane Church in San Francisco's Fillmore District started an online petition last week to pressure city officials into helping the church stay in the city, where it's been since 1969. The church, which bills itself as "the oldest and only church born out of the music of John Coltrane," reports that its lease is up at its current location on 1286 Fillmore St. According to the petition, the church's landlords -- the owners of the West Bay Conference Center -- want to double the church's rent, leaving ministers with their "backs against the wall." "The present",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The ministers at the St. John Coltrane Church in San Francisco’s Fillmore District started an online petition last week to pressure city officials into helping the church stay in the city, where it’s been since 1969.\u003c/p>\n\u003cp>The church, which bills itself as “the oldest and only church born out of the music of John Coltrane,” reports that its lease is up at its current location on 1286 Fillmore St. According to the petition, the church’s landlords — the owners of the West Bay Conference Center — want to double the church’s rent, leaving ministers with their “backs against the wall.”\u003c/p>\n\u003cp>“The present political climate of profit over people continues to devastate the African American population of the Fillmore, leaving the ‘Coltrane Church’ to stand alone as the sole historic proprietors of the music and culture of jazz as a means to enlighten,” the church’s ministers \u003ca href=\"https://www.change.org/p/west-bay-confrence-center-london-breed-edwin-lee-nadia-sesay-hands-off-the-coltrane-church\" target=\"_blank\" rel=\"noopener\">wrote in their petition\u003c/a>.\u003c/p>\n\u003cp>“The San Francisco Fillmore district, formerly known as the ‘Harlem of the West,’ and the African American population in the district of ‘The Fillmore’ contributed to the culture of blues, jazz and gospel music. Presently the population and culture of the African American community has all been but destroyed, along with its learning institutions, churches and venues of musical expression. The Coltrane Church has and will continue its stance against this kind of injustice.”\u003c/p>\n\u003cp>Started by Franzo and Marina King, the \u003ca href=\"http://www.coltranechurch.org/\" target=\"_blank\" rel=\"noopener\">Saint John Will I Am Coltrane African Orthodox Church\u003c/a> was originally called the Yardbird Temple after the couple turned their jazz club into a religious organization following the saxophone legend’s death (or “Ascension”) in 1967. The couple say they had an “effectual transference of the Holy Ghost through sound” when watching Coltrane perform for the first time in San Francisco back in 1965 and have been preaching the power of his music ever since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After meeting Coltrane’s wife, Alice, in 1974, the Kings “began to think of John Coltrane’s message in the context of spiritual universalism and to understand how John Coltrane was trying to reach souls even outside of western Christian context,” according to the \u003ca href=\"http://www.coltranechurch.org/#history\" target=\"_blank\" rel=\"noopener\">church’s website\u003c/a>.\u003c/p>\n\u003cp>Changing its name to One Mind Temple in 1971 and later to the Vendantic Center, the church became the Saint John Will I Am Coltrane African Orthodox Church after the Kings joined the African Orthodox Church in 1982. Two years later, Franco King would become an archbishop of the church and Marina would become the supreme mother reverend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The church ends every Sunday mass with a meditation on Coltrane’s \u003ci>A Love Supreme,\u003c/i> and provides food and clothing to the needy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice\" target=\"_blank\" rel=\"noopener\">Vanishing Ice: Alpine and Polar Landscapes in Art, 1775-2002\u003c/a>\u003c/em>, a new exhibition at the David Brower Center in Berkeley, explores the way artists since the late 18th century have depicted the frozen parts of our planet. It’s a show that forces people to stop seeing the polar ice caps as bleak, alien landscapes, and instead as delicate ecosystems full of life and color -– all of it under threat as a result of climate change.\u003c/p>\n\u003cp>The show features a couple of Bay Area artists, including photographer \u003ca href=\"http://www.camilleseaman.com/\" target=\"_blank\" rel=\"noopener\">Camille Seaman\u003c/a> of Richmond. Seaman didn’t start out as a climate change activist. As a member of a small Native American tribe on the East Coast called the Shinnecock, Seaman grew up with a healthy respect for nature. But she might have never visited the Arctic if it weren’t for a fortuitous offer from Alaska Airlines when she was flying out of Oakland back in the 1990s: The airline offered the artist a free flight anywhere in its network in exchange for being bumped from a flight. Yes, airlines used to offer that perk.\u003c/p>\n\u003cp>“I was like, alright, I’ll do it,” says Seaman, who lives in Richmond. “I think a lot of people are offered that chance, but they never actually use the ticket.”\u003c/p>\n\u003cp>At least, not the way Seaman used it. She chose one of the most remote places Alaska Airlines flies: Kotzebue, a tiny city on the far western coast of Alaska, not far from Siberia.\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" style=\"padding-left: 100px\" align=\"left\">[googlemaps https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d25670037.166096758!2d161.63446142787365!3d66.87781448240352!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x50cd16e62470ba35%3A0x4e402d9312ad1bb5!2sKotzebue%2C+AK+99752!5e0!3m2!1sen!2sus!4v1452209621080&w=630&h=450]\u003c/div>\n\u003cp>“I chose Kotzebue because it’s situated on the supposed Bering land bridge,” Seaman says. “I was curious about this idea that we had migrated over this land bridge during the last ice age and somehow populated America.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seaman had no idea she was embarking on a 16-year love affair with the Arctic, and then the Antarctic, too. \u003cspan style=\"line-height: 1.5\">“There are no two icebergs alike,” Seaman says. “They have their own unique personalities. Some do kind of glow like that. Others are like ‘Eeeeeh. Don’t look at me! I’m having a bad ice day!’ They have so much personality.”\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/rmyrow/where-the-ice-ends-and-the-sea-begins?si=56c1e826906246d8bb02a13e6967a853&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">\u003cstrong>Hear more about Seaman’s Adventures on Ice.\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Seaman’s photos of icebergs are spectacular, jaw-dropping meditations in shades of blue and gray. The ice often looks lit from within, beckoning the viewer to step inside the photograph. The artist obtained access to parts of the world most people don’t go by traveling with polar expeditions, photographing penguins, icebergs, and over time, climate change, along the way.\u003c/p>\n\u003cp>“There’s no place for apathy anymore,” Seaman says, her voice trembling with emotion. What started on a whim for the artist became a passion, and then a cause. “I think for too long we’ve allowed ourselves as citizens of this planet to think that it’s a right to be able to do what we want to it.”\u003c/p>\n\u003cp>Seaman’s photo “Grand Pinnacle,” is just one of the striking pieces in \u003cem>\u003ca href=\"http://www.vanishing-ice.org\" target=\"_blank\" rel=\"noopener\">Vanishing Ice\u003c/a>\u003c/em>, a traveling exhibition from Washington State that covers more than 200 years of artistic engagement with Arctic and alpine landscapes.\u003c/p>\n\u003cp>The curator, Dr. Barbara Matilsky of the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in Bellingham, Washington, has spent a lot of her career thinking about the way artists like Seaman have followed the work of scientists and popularized their research, “getting people to appreciate the beauty and majesty of these regions,” as she puts it, “so that they would be inspired to protect them.”\u003c/p>\n\u003cp>The original exhibition, featuring 80 works from artists all over the world, premiered at the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in March 2014, and has continued on to \u003ca href=\"http://www.elpasoartmuseum.org/\" target=\"_blank\" rel=\"noopener\">The El Paso Museum of Art\u003c/a> and the \u003ca href=\"http://www.mcmichael.com/\" target=\"_blank\" rel=\"noopener\">McMicael Canadian Art Collection\u003c/a> in Kleinburg, Ontario.\u003c/p>\n\u003cp>As with Seaman’s body of work, \u003cem>Vanishing Ice\u003c/em> also serves as a record of climate change over the centuries, showing audiences what the world looked like even before cameras came along. “It’s an ‘a ha!’ moment when you see these works,” Matilsky says, “because it becomes very clear that this is just not these sporadic events happening here and there, but the actual results of this climatic phenomenon.”\u003c/p>\n\u003cp>The David Brower Center in Berkeley is presenting an abbreviated version of the exhibition, featuring around 25 works. But the venue is also hosting a series of \u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice/events\" target=\"_blank\" rel=\"noopener\">related events\u003c/a>, like a talk with Matilsky in February, and an evening of music with \u003ca href=\"http://www.otherminds.org/\" target=\"_blank\" rel=\"noopener\">Other Minds\u003c/a> in May, featuring San Francisco composer \u003ca href=\"http://www.allwaysnorth.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Leonard\u003c/a>.\u003c/p>\n\u003cp>Leonard has written several pieces using natural objects found in polar regions that will be performed at the concert . In \u003cem>Melt Water\u003c/em>, her instruments are icicles, hung so as to drip into scientific glass ware.\u003c/p>\n\u003cp>Like Seaman, Leonard sees her work as a form of documentation, as well as art. “The sonic landscape in these places will change and perhaps these sounds will become extinct,” Leonard says.\u003c/p>\n\u003cp>Stanford University Professor \u003ca href=\"http://climatepublicopinion.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Jon Krosnick\u003c/a>, who’s studied American attitudes about climate change for two decades, believes that Americans are really starting to understand the impact of global warming.\u003c/p>\n\u003cp>“We’re used to seeing the country split 50-50 on many issues,” Krosnick says. “In about 25 surveys, conducted over two decades, most people believe the earth has been growing warmer over the last century. Between about 75 and 80 percent of Americans say they believe that’s probably been happening.”\u003c/p>\n\u003cp>Museum curators reflect this shift in awareness, in part, reflecting the interest of artists they build shows around. It’s hard to spit without hitting an exhibition that touches on climate change. Some, like the one at 1337 Gallery in San Rafael, are simply called \u003ca href=\"http://www.artworksdowntown.org/exhibits/current/1337-current\" target=\"_blank\" rel=\"noopener\">Climate Change\u003c/a>. Others, like \u003ca href=\"http://hammer.ucla.edu/exhibitions/2015/the-idea-of-north-the-paintings-of-lawren-harris/\" target=\"_blank\" rel=\"noopener\">The Idea of North\u003c/a>, just finished at the Hammer Museum in Los Angeles, broadly hint at the subject.\u003c/p>\n\u003cp>Can these public conversations move people to take meaningful action? Krosnick is optimistic in this regard. “The world’s most important photographs are typically pictures that powerfully communicate the agony of people far away from us in a way that makes it human,” Krosnick says. “That highlights the potential for artists to activate our emotions in ways that make a real difference in how we think about very concrete, very everyday issues.”\u003c/p>\n\u003cp>\u003cstrong>More Icebergs, Including One That Rolls\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://embed-ssl.ted.com/talks/camille_seaman_haunting_photos_of_ice.html\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "A new art exhibition in Berkeley presents astonishing images of melting icebergs and a concert featuring musical icicles",
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"title": "'Vanishing Ice' Makes Beautiful Bid For Action on Climate Change | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice\" target=\"_blank\" rel=\"noopener\">Vanishing Ice: Alpine and Polar Landscapes in Art, 1775-2002\u003c/a>\u003c/em>, a new exhibition at the David Brower Center in Berkeley, explores the way artists since the late 18th century have depicted the frozen parts of our planet. It’s a show that forces people to stop seeing the polar ice caps as bleak, alien landscapes, and instead as delicate ecosystems full of life and color -– all of it under threat as a result of climate change.\u003c/p>\n\u003cp>The show features a couple of Bay Area artists, including photographer \u003ca href=\"http://www.camilleseaman.com/\" target=\"_blank\" rel=\"noopener\">Camille Seaman\u003c/a> of Richmond. Seaman didn’t start out as a climate change activist. As a member of a small Native American tribe on the East Coast called the Shinnecock, Seaman grew up with a healthy respect for nature. But she might have never visited the Arctic if it weren’t for a fortuitous offer from Alaska Airlines when she was flying out of Oakland back in the 1990s: The airline offered the artist a free flight anywhere in its network in exchange for being bumped from a flight. Yes, airlines used to offer that perk.\u003c/p>\n\u003cp>“I was like, alright, I’ll do it,” says Seaman, who lives in Richmond. “I think a lot of people are offered that chance, but they never actually use the ticket.”\u003c/p>\n\u003cp>At least, not the way Seaman used it. She chose one of the most remote places Alaska Airlines flies: Kotzebue, a tiny city on the far western coast of Alaska, not far from Siberia.\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" style=\"padding-left: 100px\" align=\"left\">\u003c/p>\u003cp>\u003ciframe\n src='https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d25670037.166096758!2d161.63446142787365!3d66.87781448240352!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x50cd16e62470ba35%3A0x4e402d9312ad1bb5!2sKotzebue%2C+AK+99752!5e0!3m2!1sen!2sus!4v1452209621080&w=630&h=450'\n title='https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d25670037.166096758!2d161.63446142787365!3d66.87781448240352!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x50cd16e62470ba35%3A0x4e402d9312ad1bb5!2sKotzebue%2C+AK+99752!5e0!3m2!1sen!2sus!4v1452209621080&w=630&h=450'\n width='630'\n height='450'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/div>\n\u003cp>“I chose Kotzebue because it’s situated on the supposed Bering land bridge,” Seaman says. “I was curious about this idea that we had migrated over this land bridge during the last ice age and somehow populated America.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seaman had no idea she was embarking on a 16-year love affair with the Arctic, and then the Antarctic, too. \u003cspan style=\"line-height: 1.5\">“There are no two icebergs alike,” Seaman says. “They have their own unique personalities. Some do kind of glow like that. Others are like ‘Eeeeeh. Don’t look at me! I’m having a bad ice day!’ They have so much personality.”\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/rmyrow/where-the-ice-ends-and-the-sea-begins?si=56c1e826906246d8bb02a13e6967a853&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">\u003cstrong>Hear more about Seaman’s Adventures on Ice.\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Seaman’s photos of icebergs are spectacular, jaw-dropping meditations in shades of blue and gray. The ice often looks lit from within, beckoning the viewer to step inside the photograph. The artist obtained access to parts of the world most people don’t go by traveling with polar expeditions, photographing penguins, icebergs, and over time, climate change, along the way.\u003c/p>\n\u003cp>“There’s no place for apathy anymore,” Seaman says, her voice trembling with emotion. What started on a whim for the artist became a passion, and then a cause. “I think for too long we’ve allowed ourselves as citizens of this planet to think that it’s a right to be able to do what we want to it.”\u003c/p>\n\u003cp>Seaman’s photo “Grand Pinnacle,” is just one of the striking pieces in \u003cem>\u003ca href=\"http://www.vanishing-ice.org\" target=\"_blank\" rel=\"noopener\">Vanishing Ice\u003c/a>\u003c/em>, a traveling exhibition from Washington State that covers more than 200 years of artistic engagement with Arctic and alpine landscapes.\u003c/p>\n\u003cp>The curator, Dr. Barbara Matilsky of the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in Bellingham, Washington, has spent a lot of her career thinking about the way artists like Seaman have followed the work of scientists and popularized their research, “getting people to appreciate the beauty and majesty of these regions,” as she puts it, “so that they would be inspired to protect them.”\u003c/p>\n\u003cp>The original exhibition, featuring 80 works from artists all over the world, premiered at the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in March 2014, and has continued on to \u003ca href=\"http://www.elpasoartmuseum.org/\" target=\"_blank\" rel=\"noopener\">The El Paso Museum of Art\u003c/a> and the \u003ca href=\"http://www.mcmichael.com/\" target=\"_blank\" rel=\"noopener\">McMicael Canadian Art Collection\u003c/a> in Kleinburg, Ontario.\u003c/p>\n\u003cp>As with Seaman’s body of work, \u003cem>Vanishing Ice\u003c/em> also serves as a record of climate change over the centuries, showing audiences what the world looked like even before cameras came along. “It’s an ‘a ha!’ moment when you see these works,” Matilsky says, “because it becomes very clear that this is just not these sporadic events happening here and there, but the actual results of this climatic phenomenon.”\u003c/p>\n\u003cp>The David Brower Center in Berkeley is presenting an abbreviated version of the exhibition, featuring around 25 works. But the venue is also hosting a series of \u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice/events\" target=\"_blank\" rel=\"noopener\">related events\u003c/a>, like a talk with Matilsky in February, and an evening of music with \u003ca href=\"http://www.otherminds.org/\" target=\"_blank\" rel=\"noopener\">Other Minds\u003c/a> in May, featuring San Francisco composer \u003ca href=\"http://www.allwaysnorth.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Leonard\u003c/a>.\u003c/p>\n\u003cp>Leonard has written several pieces using natural objects found in polar regions that will be performed at the concert . In \u003cem>Melt Water\u003c/em>, her instruments are icicles, hung so as to drip into scientific glass ware.\u003c/p>\n\u003cp>Like Seaman, Leonard sees her work as a form of documentation, as well as art. “The sonic landscape in these places will change and perhaps these sounds will become extinct,” Leonard says.\u003c/p>\n\u003cp>Stanford University Professor \u003ca href=\"http://climatepublicopinion.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Jon Krosnick\u003c/a>, who’s studied American attitudes about climate change for two decades, believes that Americans are really starting to understand the impact of global warming.\u003c/p>\n\u003cp>“We’re used to seeing the country split 50-50 on many issues,” Krosnick says. “In about 25 surveys, conducted over two decades, most people believe the earth has been growing warmer over the last century. Between about 75 and 80 percent of Americans say they believe that’s probably been happening.”\u003c/p>\n\u003cp>Museum curators reflect this shift in awareness, in part, reflecting the interest of artists they build shows around. It’s hard to spit without hitting an exhibition that touches on climate change. Some, like the one at 1337 Gallery in San Rafael, are simply called \u003ca href=\"http://www.artworksdowntown.org/exhibits/current/1337-current\" target=\"_blank\" rel=\"noopener\">Climate Change\u003c/a>. Others, like \u003ca href=\"http://hammer.ucla.edu/exhibitions/2015/the-idea-of-north-the-paintings-of-lawren-harris/\" target=\"_blank\" rel=\"noopener\">The Idea of North\u003c/a>, just finished at the Hammer Museum in Los Angeles, broadly hint at the subject.\u003c/p>\n\u003cp>Can these public conversations move people to take meaningful action? Krosnick is optimistic in this regard. “The world’s most important photographs are typically pictures that powerfully communicate the agony of people far away from us in a way that makes it human,” Krosnick says. “That highlights the potential for artists to activate our emotions in ways that make a real difference in how we think about very concrete, very everyday issues.”\u003c/p>\n\u003cp>\u003cstrong>More Icebergs, Including One That Rolls\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Dating in a Post-Privacy World",
"title": "Dating in a Post-Privacy World",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>We live in an age of oversharing. Depending on your level of tolerance, perhaps you’ve just come to accept that too many people know too much about you, and sigh with resignation every time a family member or friend posts a photo of you with a double chin, or the dreaded red eye, or hoisting a pint at the bar when you told your boss you were home sick that day.\u003c/p>\n\u003cp>Privacy? Boundaries? Those went out with the advent of social media.\u003c/p>\n\u003cp>But some things require privacy to thrive. I’m not talking about illegal behavior, per se. There’s something about sex, love, even marriage, that prefers the candlelit corner, and not just because low lighting is so forgiving. Posting about everything -- the first date, the last fight -- can wound or kill a romantic relationship.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/14/LITDApodcastlogo.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/love-in-the-digital-age/id1037051180?mt=2\">Subscribe in iTunes\u003c/a>\u003c/h3>\n\u003cp>Don't miss an episode of 'Love in the Digital Age'\u003c/p>\n\u003c/div>\n\u003cp>\u003cem>Love in the Digital Age\u003c/em> sat down with Rico Gagliano recently. He’s co-host of the radio show and podcast \u003ca href=\"http://www.dinnerpartydownload.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\"Dinner Party Download,\"\u003c/a> and while he wouldn’t claim to be the World’s Foremost Expert on Love -- who would? -- he’s had some experience having his personal life dragged out into the limelight for review and discussion.\u003c/p>\n\u003cp>“We all on some level understand, whether we consciously acknowledge it or not, know the way that people behave in their public lives may not necessarily jive with the way that they behave in their private lives,” Gagliano says. “Those are two different universes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a perfect world, your private life would be yours to enjoy, observed only by those you choose to share it with. Right. Some of us are old enough to remember when that was possible. The choice today is not whether to document our private lives online, but how.\u003c/p>\n\u003cfigure id=\"attachment_10861524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10861524 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-800x449.jpg\" alt=\"“People think of the social media world as just an expansion of their normal social lives in some way, but it isn’t, to me,” says Rico Gagliano.\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-1440x809.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“People think of the social media world as just an expansion of their normal social lives in some way, but it isn’t, to me,” says Rico Gagliano. \u003ccite>(Katherine Streeter for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are plenty of people who look at my Facebook page who are not my close friends,\" Gagliano says. I don’t want to tell them about my relationships, or have them know exactly what I’m doing with my significant other. And yet, I feel like there’s the expectation that you do that.”\u003c/p>\n\u003cp>He’s not just speaking about the madding crowd he's friended over the years. He’s speaking about girlfriends, who expect to post -- or have posted -- a steady stream of sunny photos about meals in restaurants, weekend trips, and “\u003ca href=\"http://www.businessinsider.com/selfies-are-dead-its-all-about-the-usie-now-2014-1\" target=\"_blank\" rel=\"noopener noreferrer\">usies\u003c/a>” at various spots around town. If you refuse to post, or to allow others to post, “then what is that saying about your relationship?\"\u003c/p>\n\u003caside class=\"pullquote alignright\">'Are you trying to keep that relationship on the down low? You don’t want anyone to know that we’re dating? You want me to be your dirty little secret?'\u003c/aside>\n\u003cp>You can, of course, set specific limits on who sees what on Facebook, or evade older generations by seeking out younger social media networks like SnapChat. But unless you go off the grid entirely, your privacy strategy will never be better than partial.\u003c/p>\n\u003cp>Some people say Millennials, having grown up with the expectation there is no privacy, do better at proactively self-censoring than older generations, but there's a limit to how much of yourself you can hold back in the search for love.\u003c/p>\n\u003cp>\u003cstrong>An Early Lesson in Love Online\u003c/strong>\u003c/p>\n\u003cp>Back in the early 2000s, Gagliano was enthusiastically involved with a platform called \u003ca href=\"http://www.livejournal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Live Journal\u003c/a>. That is to say, he hung out with a group of people who blogged on it, read what others wrote on it and dated each other.\u003c/p>\n\u003cp>“I was on Live Journal,” say Gagliano. “My girlfriend was on Live Journal. We dated, and then we broke up. That was fine. We were still friends. Many months later, I started dating somebody else who was also on Live Journal and was friends with all of us, including my ex.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"Kfo8j15BfaTtV778Jwzc55k9CalAykEQ\"]\u003c/p>\n\u003cp>Gagliano went to a movie with his ex. “We were still friends.” At the time, he thought there would be no need to tell the new woman, because he had just started seeing her, especially if he had no interest in rekindling a romantic relationship with his ex. “All it’s going to do is cause problems,” he thought.\u003c/p>\n\u003cp>He didn’t anticipate that his ex would post about the evening on her Live Journal. It didn’t help that she mentioned what a good time they had and how much she wished they were still together. “This girl that I’ve just started dating sees that I’ve gone out with my ex. And she’s like, ‘Why didn’t you tell me?’ ” You don't need to follow Gagliano's Facebook feed to guess how things progressed from there.\u003c/p>\n\u003cfigure id=\"attachment_10861523\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg class=\"wp-image-10861523\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RS18408_Rico-qut-400x400.jpg\" alt=\"This photo “cunningly doesn't show my who face,” says Rico Gagliano, "the better to protect my public anonymity. It shows the top of my head with a portrait of William Howard Taft, with whom I insist I have never had a relationship."\" width=\"250\" height=\"250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut.jpg 912w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">This photo “cunningly doesn't show my who face,” says Rico Gagliano, \"the better to protect my public anonymity. It shows the top of my head with a portrait of William Howard Taft, with whom I insist I have never had a relationship.\" \u003ccite>(Courtesy Rico Gagliano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That episode may not have been the most painful thing he's experienced, but it did make Gagliano keenly aware some people are always watching him. Even though we’re talking about his friends, family and yes, exes, it doesn’t make that oversight feel less intrusive. There is always a camera somewhere, documenting your search for love in the digital age.\u003c/p>\n\u003cp>“To what extent do you have any control anymore?” Gagliano asks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This podcast features music by K. Flay (“It's Strange”) and the Candyland Remix of the same.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in an age of oversharing. Depending on your level of tolerance, perhaps you’ve just come to accept that too many people know too much about you, and sigh with resignation every time a family member or friend posts a photo of you with a double chin, or the dreaded red eye, or hoisting a pint at the bar when you told your boss you were home sick that day.\u003c/p>\n\u003cp>Privacy? Boundaries? Those went out with the advent of social media.\u003c/p>\n\u003cp>But some things require privacy to thrive. I’m not talking about illegal behavior, per se. There’s something about sex, love, even marriage, that prefers the candlelit corner, and not just because low lighting is so forgiving. Posting about everything -- the first date, the last fight -- can wound or kill a romantic relationship.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/14/LITDApodcastlogo.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/love-in-the-digital-age/id1037051180?mt=2\">Subscribe in iTunes\u003c/a>\u003c/h3>\n\u003cp>Don't miss an episode of 'Love in the Digital Age'\u003c/p>\n\u003c/div>\n\u003cp>\u003cem>Love in the Digital Age\u003c/em> sat down with Rico Gagliano recently. He’s co-host of the radio show and podcast \u003ca href=\"http://www.dinnerpartydownload.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\"Dinner Party Download,\"\u003c/a> and while he wouldn’t claim to be the World’s Foremost Expert on Love -- who would? -- he’s had some experience having his personal life dragged out into the limelight for review and discussion.\u003c/p>\n\u003cp>“We all on some level understand, whether we consciously acknowledge it or not, know the way that people behave in their public lives may not necessarily jive with the way that they behave in their private lives,” Gagliano says. “Those are two different universes.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a perfect world, your private life would be yours to enjoy, observed only by those you choose to share it with. Right. Some of us are old enough to remember when that was possible. The choice today is not whether to document our private lives online, but how.\u003c/p>\n\u003cfigure id=\"attachment_10861524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10861524 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-800x449.jpg\" alt=\"“People think of the social media world as just an expansion of their normal social lives in some way, but it isn’t, to me,” says Rico Gagliano.\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-1440x809.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“People think of the social media world as just an expansion of their normal social lives in some way, but it isn’t, to me,” says Rico Gagliano. \u003ccite>(Katherine Streeter for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are plenty of people who look at my Facebook page who are not my close friends,\" Gagliano says. I don’t want to tell them about my relationships, or have them know exactly what I’m doing with my significant other. And yet, I feel like there’s the expectation that you do that.”\u003c/p>\n\u003cp>He’s not just speaking about the madding crowd he's friended over the years. He’s speaking about girlfriends, who expect to post -- or have posted -- a steady stream of sunny photos about meals in restaurants, weekend trips, and “\u003ca href=\"http://www.businessinsider.com/selfies-are-dead-its-all-about-the-usie-now-2014-1\" target=\"_blank\" rel=\"noopener noreferrer\">usies\u003c/a>” at various spots around town. If you refuse to post, or to allow others to post, “then what is that saying about your relationship?\"\u003c/p>\n\u003caside class=\"pullquote alignright\">'Are you trying to keep that relationship on the down low? You don’t want anyone to know that we’re dating? You want me to be your dirty little secret?'\u003c/aside>\n\u003cp>You can, of course, set specific limits on who sees what on Facebook, or evade older generations by seeking out younger social media networks like SnapChat. But unless you go off the grid entirely, your privacy strategy will never be better than partial.\u003c/p>\n\u003cp>Some people say Millennials, having grown up with the expectation there is no privacy, do better at proactively self-censoring than older generations, but there's a limit to how much of yourself you can hold back in the search for love.\u003c/p>\n\u003cp>\u003cstrong>An Early Lesson in Love Online\u003c/strong>\u003c/p>\n\u003cp>Back in the early 2000s, Gagliano was enthusiastically involved with a platform called \u003ca href=\"http://www.livejournal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Live Journal\u003c/a>. That is to say, he hung out with a group of people who blogged on it, read what others wrote on it and dated each other.\u003c/p>\n\u003cp>“I was on Live Journal,” say Gagliano. “My girlfriend was on Live Journal. We dated, and then we broke up. That was fine. We were still friends. Many months later, I started dating somebody else who was also on Live Journal and was friends with all of us, including my ex.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Gagliano went to a movie with his ex. “We were still friends.” At the time, he thought there would be no need to tell the new woman, because he had just started seeing her, especially if he had no interest in rekindling a romantic relationship with his ex. “All it’s going to do is cause problems,” he thought.\u003c/p>\n\u003cp>He didn’t anticipate that his ex would post about the evening on her Live Journal. It didn’t help that she mentioned what a good time they had and how much she wished they were still together. “This girl that I’ve just started dating sees that I’ve gone out with my ex. And she’s like, ‘Why didn’t you tell me?’ ” You don't need to follow Gagliano's Facebook feed to guess how things progressed from there.\u003c/p>\n\u003cfigure id=\"attachment_10861523\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg class=\"wp-image-10861523\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RS18408_Rico-qut-400x400.jpg\" alt=\"This photo “cunningly doesn't show my who face,” says Rico Gagliano, "the better to protect my public anonymity. It shows the top of my head with a portrait of William Howard Taft, with whom I insist I have never had a relationship."\" width=\"250\" height=\"250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut.jpg 912w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">This photo “cunningly doesn't show my who face,” says Rico Gagliano, \"the better to protect my public anonymity. It shows the top of my head with a portrait of William Howard Taft, with whom I insist I have never had a relationship.\" \u003ccite>(Courtesy Rico Gagliano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That episode may not have been the most painful thing he's experienced, but it did make Gagliano keenly aware some people are always watching him. Even though we’re talking about his friends, family and yes, exes, it doesn’t make that oversight feel less intrusive. There is always a camera somewhere, documenting your search for love in the digital age.\u003c/p>\n\u003cp>“To what extent do you have any control anymore?” Gagliano asks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This podcast features music by K. Flay (“It's Strange”) and the Candyland Remix of the same.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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