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"content": "\u003cp>Hey there, good lookin'. Are you single, ready to mingle, and tired of interacting with people who don't share your exact views on federal education and health care policy? Have we got news for you!\u003c/p>\n\u003cp>Yes, it's \u003ca href=\"https://berniesingles.com/\" target=\"_blank\">BernieSingles.com\u003c/a>, a new dating website for Bernie Sanders supporters, by Bernie Sanders supporters. Or, as its tag line puts it, a place to \"Meet other people who understand \u003cstrong>the world!\u003c/strong>\"\u003c/p>\n\u003cp>The site, which currently boasts some 5,600 members and counting, was founded by 19-year-old Arizona State University student Colten Caudle -- who, the\u003ca href=\"http://www.huffingtonpost.com/entry/bernie-singles-find-love_us_56c7913fe4b0928f5a6bea1f\" target=\"_blank\"> Huffington Post notes\u003c/a>, met his girlfriend through a Bernie Sanders Facebook group earlier this month. (The two have yet to meet IRL.)\u003c/p>\n\u003cp>\"Bernie Singles first started as a spinoff to the wildly popular Facebook group \u003ca href=\"https://www.facebook.com/groups/berniesandersmemes/\" target=\"_blank\">Bernie Sanders’ Dank Meme Stash\u003c/a>, as the group \u003ca href=\"https://www.facebook.com/groups/1553767758247375/\" target=\"_blank\">Bernie Sanders’ Dank Meme (BSDM) \u003cem>Singles\u003c/em>\u003c/a>,\" explains the site's \"About\" page, thoroughly ensuring that no one over the age of 40 will understand a damn thing these people are saying. \"As the group began to grow, people would suggest even more ways to group, by personal preference, or sexual orientation, etc. This is where Bernie Singles was born.\"\u003c/p>\n\u003cp>So! Who's on it? From a brief glance, the user base appears to be a lot of college students and other singles in their twenties, including many people who seem to enjoy calling Sanders their dad. Like Alyssa, a 24-year-old from Massachusetts, whose profile includes the following:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Recently at a bar I yelled at a Rubio supporter who was talking about Bernie not being a patriot and the usual jargon and said ”don’t talk about daddy and the fam like that!” So basically lets do that together.\u003c/em>\u003c/p>\n\u003cp>Then, of course, there are the jokers -- like user \u003ca href=\"https://berniesingles.com/members/presidenttrump/\" target=\"_blank\">Donald Trump\u003c/a>, who appears to be flirting with a user named after his daughter, \u003ca href=\"https://berniesingles.com/members/ivankatrump/\" target=\"_blank\">Ivanka\u003c/a>, in a nod to one of Trump's\u003ca href=\"http://www.deathandtaxesmag.com/279091/donald-trump-ivanka-trump-photo-gross/\" target=\"_blank\"> creepiest tendencies\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, the site's \"groups\" feature allows users to connect with other Berners in their geographic region, or to join micro-communities like \"Christians for Bernie,\" \"Musicians for Bernie,\" \"Horse Lovers 4 Bernie,\" and the ever-popular \"Girls Who Are Down For Threesomes.\"\u003c/p>\n\u003cp>On balance, the site seems to be shaping up as half-chatroom, half-safe space for people to \"talk Bernie\" at each other -- which is apparently necessary, given recent stories about Bernie supporters using \u003ca href=\"http://theslot.jezebel.com/an-interview-with-a-man-who-was-campaigned-at-by-bernie-1757807599\" target=\"_blank\">non-Bernie specific dating sites\u003c/a> to do\u003ca href=\"http://www.huffingtonpost.com/entry/bernie-sanders-supporters-tinder_us_56b4d85de4b01d80b24605b0\" target=\"_blank\"> just that\u003c/a>. True political discussion appears to be in short supply, having taken a backseat to the idea that if two individuals are both feeling the Bern, they probably have a good shot at being friends, compatible sexual partners, or at the very least comrades in dank memedom.\u003c/p>\n\u003cp>One could see the site as just the latest evidence that Sanders' cult of personality has snowballed into an underdog-themed cultural phenomenon more in line with the way people root for, say, the bobsled team from \u003cem>Cool Runnings\u003c/em> than anything having to do with actual policies or platforms.\u003c/p>\n\u003cp>Or, you know, we could call it \"the Internet.\" Lord knows \u003ca href=\"https://berniesingles.com/members/johnellisbush/\" target=\"_blank\">Jeb Bush\u003c/a> needed a new hobby this week anyway.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "If Bernie Bros are your type -- or you're just looking to share dank memes! -- the internet, as usual, has you covered. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hey there, good lookin'. Are you single, ready to mingle, and tired of interacting with people who don't share your exact views on federal education and health care policy? Have we got news for you!\u003c/p>\n\u003cp>Yes, it's \u003ca href=\"https://berniesingles.com/\" target=\"_blank\">BernieSingles.com\u003c/a>, a new dating website for Bernie Sanders supporters, by Bernie Sanders supporters. Or, as its tag line puts it, a place to \"Meet other people who understand \u003cstrong>the world!\u003c/strong>\"\u003c/p>\n\u003cp>The site, which currently boasts some 5,600 members and counting, was founded by 19-year-old Arizona State University student Colten Caudle -- who, the\u003ca href=\"http://www.huffingtonpost.com/entry/bernie-singles-find-love_us_56c7913fe4b0928f5a6bea1f\" target=\"_blank\"> Huffington Post notes\u003c/a>, met his girlfriend through a Bernie Sanders Facebook group earlier this month. (The two have yet to meet IRL.)\u003c/p>\n\u003cp>\"Bernie Singles first started as a spinoff to the wildly popular Facebook group \u003ca href=\"https://www.facebook.com/groups/berniesandersmemes/\" target=\"_blank\">Bernie Sanders’ Dank Meme Stash\u003c/a>, as the group \u003ca href=\"https://www.facebook.com/groups/1553767758247375/\" target=\"_blank\">Bernie Sanders’ Dank Meme (BSDM) \u003cem>Singles\u003c/em>\u003c/a>,\" explains the site's \"About\" page, thoroughly ensuring that no one over the age of 40 will understand a damn thing these people are saying. \"As the group began to grow, people would suggest even more ways to group, by personal preference, or sexual orientation, etc. This is where Bernie Singles was born.\"\u003c/p>\n\u003cp>So! Who's on it? From a brief glance, the user base appears to be a lot of college students and other singles in their twenties, including many people who seem to enjoy calling Sanders their dad. Like Alyssa, a 24-year-old from Massachusetts, whose profile includes the following:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Recently at a bar I yelled at a Rubio supporter who was talking about Bernie not being a patriot and the usual jargon and said ”don’t talk about daddy and the fam like that!” So basically lets do that together.\u003c/em>\u003c/p>\n\u003cp>Then, of course, there are the jokers -- like user \u003ca href=\"https://berniesingles.com/members/presidenttrump/\" target=\"_blank\">Donald Trump\u003c/a>, who appears to be flirting with a user named after his daughter, \u003ca href=\"https://berniesingles.com/members/ivankatrump/\" target=\"_blank\">Ivanka\u003c/a>, in a nod to one of Trump's\u003ca href=\"http://www.deathandtaxesmag.com/279091/donald-trump-ivanka-trump-photo-gross/\" target=\"_blank\"> creepiest tendencies\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, the site's \"groups\" feature allows users to connect with other Berners in their geographic region, or to join micro-communities like \"Christians for Bernie,\" \"Musicians for Bernie,\" \"Horse Lovers 4 Bernie,\" and the ever-popular \"Girls Who Are Down For Threesomes.\"\u003c/p>\n\u003cp>On balance, the site seems to be shaping up as half-chatroom, half-safe space for people to \"talk Bernie\" at each other -- which is apparently necessary, given recent stories about Bernie supporters using \u003ca href=\"http://theslot.jezebel.com/an-interview-with-a-man-who-was-campaigned-at-by-bernie-1757807599\" target=\"_blank\">non-Bernie specific dating sites\u003c/a> to do\u003ca href=\"http://www.huffingtonpost.com/entry/bernie-sanders-supporters-tinder_us_56b4d85de4b01d80b24605b0\" target=\"_blank\"> just that\u003c/a>. True political discussion appears to be in short supply, having taken a backseat to the idea that if two individuals are both feeling the Bern, they probably have a good shot at being friends, compatible sexual partners, or at the very least comrades in dank memedom.\u003c/p>\n\u003cp>One could see the site as just the latest evidence that Sanders' cult of personality has snowballed into an underdog-themed cultural phenomenon more in line with the way people root for, say, the bobsled team from \u003cem>Cool Runnings\u003c/em> than anything having to do with actual policies or platforms.\u003c/p>\n\u003cp>Or, you know, we could call it \"the Internet.\" Lord knows \u003ca href=\"https://berniesingles.com/members/johnellisbush/\" target=\"_blank\">Jeb Bush\u003c/a> needed a new hobby this week anyway.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Audiences Strip Off and Get Steamy at Southern Exposure",
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"content": "\u003cp>Saunas aren’t very sociable places. People tend to sit and sweat in silence. But put a sauna in the middle of an art gallery and you get a very different vibe.\u003c/p>\n\u003cp>In fact, it’s nothing short of a party inside the unusual sauna that forms the centerpiece of Los Angeles-based artist Michael Parker’s \u003cem>Steam Work\u003c/em>, an interactive installation currently on display at \u003ca href=\"https://www.soex.org\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11353362\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11353362\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_0964.jpg\" alt=\"Michael Parker, 'Steam Egg 2' at Southern Exposure.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0964.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0964-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0964-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0964-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0964-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0964-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Michael Parker, ‘Steam Egg 2’ at Southern Exposure. \u003ccite>(Photo by Raheleh (Minoosh) Zomorodinia / Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Don your swimsuit and crawl in through a hole in the bottom of the massive, mirror-tiled, egg-shaped construction, whereupon friendly strangers are likely to be on hand to help you up onto a narrow ledge. There you will sit — the hot, dark space holds up to eight people perched in close quarters — chatting and schvitzing to your heart’s content before your new buddies help you get out again so you can cool off.\u003c/p>\n\u003cp>I’ve certainly never had an experience like that at \u003ca href=\"http://kabukisprings.com/\" target=\"_blank\" rel=\"noopener\">Kabuki Springs\u003c/a> spa in Japantown or the \u003ca href=\"http://banyasf.com/\" target=\"_blank\" rel=\"noopener\">Archimedes Banya\u003c/a> in Hunters Point.\u003c/p>\n\u003cp>But you don’t have to get undressed and sweaty to feel immersed in Parker’s playful yet thoughtful installation. There’s a lot to be said of experiencing the piece from any part of the gallery’s space, fully clothed.\u003c/p>\n\u003cfigure id=\"attachment_11353365\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11353365\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MG_7699.jpg\" alt=\"There's plenty to experience in 'Steam Work,' even fully clothed.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7699.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7699-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7699-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7699-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7699-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7699-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">There’s plenty to experience in ‘Steam Work,’ even fully clothed. \u003ccite>(Photo by Matt Shaprio / Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grab one of dozens of cups from shelves scattered along the walls and help yourself to cooling water; watch rivulets of the same cascading from a reservoir down a series of MacGyver-like slides above your head; contemplate the sanity of the occasional intrepid sauna-goer sploshing about in a cold plunge tub after getting very hot. Besides the fully-functional \u003cem>Steam Egg 2\u003c/em>, which the artist built from scrap industrial parts that he found near his studio, most of the rest of the intricate pieces (the cups, the slides, even the big cold plunge baths) are fashioned by hand from gleamingly glazed, roughly hewn clay.\u003c/p>\n\u003cfigure id=\"attachment_11353361\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11353361\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_0787.jpg\" alt=\"A cool water reservoir for a post-steam splash.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0787.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0787-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0787-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0787-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0787-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0787-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A cool water reservoir for a post-steam splash. \u003ccite>(Photo by Raheleh (Minoosh) Zomorodinia / Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday nights during the show’s run (the sauna is also in operation on Thursdays) Southern Exposure adds an olfactory element to the experience. There’s a resident “Herb J” on hand (like a DJ who tickles not your ears but rather your nostrils) to mix various oils into the steam. So when you’re sitting inside the sauna’s dark, round enclave, scents of fir, grapefruit or sandalwood might waft across your conscience.\u003c/p>\n\u003cfigure id=\"attachment_11353360\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11353360\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MG_7929.jpg\" alt=\"Fresh and fragrant boughs line the ceramic troughs.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7929.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7929-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7929-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7929-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7929-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7929-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Fresh and fragrant boughs line the ceramic troughs. \u003ccite>(Photo by Matt Shapiro / Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image of all those almost-naked people climbing in and out of a hot, giant egg is a powerful one, especially with spring in the air of San Francisco right now. It’s a time of rebirth. But then there’s the reality of growing old, a reality that Parker’s wonderment-filled art draws into sharp relief. Who hasn’t experienced a moment in their life when they wish they could crawl back into the womb? If it weren’t so hot and sweaty in there, I for one would never want to leave.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Michael Parker’s \u003cem>Steam Work\u003c/em>\u003c/strong> is on view at Southern Exposure in San Francisco through March 19, 2016. For more information, visit \u003ca href=\"https://www.soex.org/projects-exhibitions/steam-work\" target=\"_blank\" rel=\"noopener\">soex.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saunas aren’t very sociable places. People tend to sit and sweat in silence. But put a sauna in the middle of an art gallery and you get a very different vibe.\u003c/p>\n\u003cp>In fact, it’s nothing short of a party inside the unusual sauna that forms the centerpiece of Los Angeles-based artist Michael Parker’s \u003cem>Steam Work\u003c/em>, an interactive installation currently on display at \u003ca href=\"https://www.soex.org\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11353362\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11353362\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_0964.jpg\" alt=\"Michael Parker, 'Steam Egg 2' at Southern Exposure.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0964.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0964-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0964-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0964-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0964-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0964-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Michael Parker, ‘Steam Egg 2’ at Southern Exposure. \u003ccite>(Photo by Raheleh (Minoosh) Zomorodinia / Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Don your swimsuit and crawl in through a hole in the bottom of the massive, mirror-tiled, egg-shaped construction, whereupon friendly strangers are likely to be on hand to help you up onto a narrow ledge. There you will sit — the hot, dark space holds up to eight people perched in close quarters — chatting and schvitzing to your heart’s content before your new buddies help you get out again so you can cool off.\u003c/p>\n\u003cp>I’ve certainly never had an experience like that at \u003ca href=\"http://kabukisprings.com/\" target=\"_blank\" rel=\"noopener\">Kabuki Springs\u003c/a> spa in Japantown or the \u003ca href=\"http://banyasf.com/\" target=\"_blank\" rel=\"noopener\">Archimedes Banya\u003c/a> in Hunters Point.\u003c/p>\n\u003cp>But you don’t have to get undressed and sweaty to feel immersed in Parker’s playful yet thoughtful installation. There’s a lot to be said of experiencing the piece from any part of the gallery’s space, fully clothed.\u003c/p>\n\u003cfigure id=\"attachment_11353365\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11353365\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MG_7699.jpg\" alt=\"There's plenty to experience in 'Steam Work,' even fully clothed.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7699.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7699-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7699-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7699-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7699-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7699-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">There’s plenty to experience in ‘Steam Work,’ even fully clothed. \u003ccite>(Photo by Matt Shaprio / Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grab one of dozens of cups from shelves scattered along the walls and help yourself to cooling water; watch rivulets of the same cascading from a reservoir down a series of MacGyver-like slides above your head; contemplate the sanity of the occasional intrepid sauna-goer sploshing about in a cold plunge tub after getting very hot. Besides the fully-functional \u003cem>Steam Egg 2\u003c/em>, which the artist built from scrap industrial parts that he found near his studio, most of the rest of the intricate pieces (the cups, the slides, even the big cold plunge baths) are fashioned by hand from gleamingly glazed, roughly hewn clay.\u003c/p>\n\u003cfigure id=\"attachment_11353361\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11353361\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_0787.jpg\" alt=\"A cool water reservoir for a post-steam splash.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0787.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0787-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0787-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0787-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0787-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_0787-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A cool water reservoir for a post-steam splash. \u003ccite>(Photo by Raheleh (Minoosh) Zomorodinia / Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday nights during the show’s run (the sauna is also in operation on Thursdays) Southern Exposure adds an olfactory element to the experience. There’s a resident “Herb J” on hand (like a DJ who tickles not your ears but rather your nostrils) to mix various oils into the steam. So when you’re sitting inside the sauna’s dark, round enclave, scents of fir, grapefruit or sandalwood might waft across your conscience.\u003c/p>\n\u003cfigure id=\"attachment_11353360\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11353360\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MG_7929.jpg\" alt=\"Fresh and fragrant boughs line the ceramic troughs.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7929.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7929-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7929-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7929-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7929-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MG_7929-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Fresh and fragrant boughs line the ceramic troughs. \u003ccite>(Photo by Matt Shapiro / Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image of all those almost-naked people climbing in and out of a hot, giant egg is a powerful one, especially with spring in the air of San Francisco right now. It’s a time of rebirth. But then there’s the reality of growing old, a reality that Parker’s wonderment-filled art draws into sharp relief. Who hasn’t experienced a moment in their life when they wish they could crawl back into the womb? If it weren’t so hot and sweaty in there, I for one would never want to leave.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Michael Parker’s \u003cem>Steam Work\u003c/em>\u003c/strong> is on view at Southern Exposure in San Francisco through March 19, 2016. For more information, visit \u003ca href=\"https://www.soex.org/projects-exhibitions/steam-work\" target=\"_blank\" rel=\"noopener\">soex.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Taylor Swift Donates $250K to Kesha Amid Fight with Dr. Luke",
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"content": "\u003cp>Taylor Swift is giving some financial assistance to fellow pop star Kesha as she fights to get out of a contract with a record producer she has accused of sexually assaulting her.\u003c/p>\n\u003cp>A representative for Swift confirmed Sunday that Swift had donated $250,000 to Kesha in a “show of support” to help her in her legal fight against megahit producer Dr. Luke.\u003c/p>\n\u003cp>On Friday, the “Tik Tok” singer sobbed in court as a judge denied her bid to get out of her contract with Dr. Luke, who has worked with artists including Britney Spears, Katy Perry and Nicki Minaj.\u003c/p>\n\u003cp>Dr. Luke has denied Kesha’s allegations, and his lawyers reiterated his views in a statement Monday. Attorney Christine Lepera called Kesha’s accusations “outright lies that have been advanced to extort a contract renegotiation and money.”\u003c/p>\n\u003cp>While Friday’s court decision is not the final judgment in the case, the ruling has led to an outpouring of support for Kesha on social media from other celebrities, including Kelly Clarkson, who once worked with Dr. Luke.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dr. Luke, whose real name is Lukas Gottwald, posted denials of Kesha’s claims on Twitter.\u003c/p>\n\u003cp>“I didn’t rape Kesha and I have never had sex with her,” one of his posts read. “Kesha and I were friends for many years and she was like my little sister.”\u003c/p>\n\u003cp>A rep for Kesha did not immediately return a message seeking comment on Swift’s donation. Kesha’s attorneys declined to comment on Lepera’s statement Monday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"description": "Taylor Swift is giving some financial assistance to fellow pop star Kesha as she fights to get out of a contract with a record producer she has accused of sexually assaulting her. A representative for Swift confirmed Sunday that Swift had donated $250,000 to Kesha in a "show of support" to help her in her legal fight against megahit producer Dr. Luke. On Friday, the "Tik Tok" singer sobbed in court as a judge denied her bid to get out of her contract with Dr. Luke, who has worked with artists including Britney Spears, Katy Perry and Nicki Minaj. Dr.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Taylor Swift is giving some financial assistance to fellow pop star Kesha as she fights to get out of a contract with a record producer she has accused of sexually assaulting her.\u003c/p>\n\u003cp>A representative for Swift confirmed Sunday that Swift had donated $250,000 to Kesha in a “show of support” to help her in her legal fight against megahit producer Dr. Luke.\u003c/p>\n\u003cp>On Friday, the “Tik Tok” singer sobbed in court as a judge denied her bid to get out of her contract with Dr. Luke, who has worked with artists including Britney Spears, Katy Perry and Nicki Minaj.\u003c/p>\n\u003cp>Dr. Luke has denied Kesha’s allegations, and his lawyers reiterated his views in a statement Monday. Attorney Christine Lepera called Kesha’s accusations “outright lies that have been advanced to extort a contract renegotiation and money.”\u003c/p>\n\u003cp>While Friday’s court decision is not the final judgment in the case, the ruling has led to an outpouring of support for Kesha on social media from other celebrities, including Kelly Clarkson, who once worked with Dr. Luke.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dr. Luke, whose real name is Lukas Gottwald, posted denials of Kesha’s claims on Twitter.\u003c/p>\n\u003cp>“I didn’t rape Kesha and I have never had sex with her,” one of his posts read. “Kesha and I were friends for many years and she was like my little sister.”\u003c/p>\n\u003cp>A rep for Kesha did not immediately return a message seeking comment on Swift’s donation. Kesha’s attorneys declined to comment on Lepera’s statement Monday.\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": "a-trip-to-the-up-bay-in-search-of-vallejos-burgeoning-art-community",
"title": "A Trip to the 'Up-Bay' in Search of Vallejo's Burgeoning Art Community",
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"content": "\u003cp>It started as a day trip and ended with searches on Zillow. We — visual arts editor Sarah Hotchkiss and KQED Arts contributor Lakshmi Sarah — had lofty goals for our sojourn to Vallejo. We would take in the local flavor, visit arts organizations, meet artists, tour some studios, eat lunch and be back on the road by 3pm.\u003c/p>\n\u003cp>We had no idea what we were getting into.\u003c/p>\n\u003cp>The impetus for our trip was a deluge of messages in response to our \u003ca href=\"http://ww2.kqed.org/arts/2015/10/20/new-map-charts-changing-landscape-for-arts-in-bay-area/\">Oct. 2015 map\u003c/a> of recently closed, relocated or opened arts spaces in the Bay Area. “I will say, from my experience as well as the experiences of other artists that I know and work with, Vallejo is the burgeoning art community you are looking for,” wrote Cate Muzaffar. “We are having an art explosion in Vallejo!” wrote Sherry Tobin.\u003c/p>\n\u003cp>\u003cem>Well, alright then\u003c/em>, we said, \u003cem>if the community we didn’t know we were looking for is just 30 miles away, let’s go check out this explosion\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11174529\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174529\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Artiszen1200.jpg\" alt=\"A view of ArtisZen over an art car.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of ArtisZen over an art car. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Vallejo: City of Opportunity\u003c/h3>\n\u003cp>Vallejo might be best known for declaring bankruptcy in 2008. Until Stockton followed suit in 2012, Vallejo was the largest city in California to do so. The stigma from this badge of dishonor is still tangible, but the city is making strides to achieve economic stability — even growth — four years after a federal judge released them from their Chapter 9 status.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, the city’s population hovers around 120,000. According to the 2010 census, the demographics break down to 25 percent white, 22.1 percent Black, 22.6 percent Hispanic or Latino, and 24.9 percent Asian. The largest employers in Vallejo are Kaiser Permanente, Six Flags Discovery Kingdom (yes, the theme park) and the Vallejo Unified School District.\u003c/p>\n\u003cp>But we drove there to talk to a different subset of the community — the artists, the makers, the publishers, the experimental concert organizers — those able to hold court in their garage, community arts center or decommissioned naval base in the middle of a Thursday.\u003c/p>\n\u003cp>We wanted to know if Vallejo offers a viable alternative to eking out art practices in cramped (yet bustling) cities with astronomical rents. And this wasn’t just a personal quest. In September 2015, when the San Francisco Arts Commission \u003ca href=\"http://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">surveyed individual artists\u003c/a> about their space needs, 28 percent of respondents had been or were being displaced from their homes, 26 percent from their studios and 23 percent from both. Vallejo was a litmus test: Can an arts community grow and flourish in a remote city still recovering from bankruptcy?\u003c/p>\n\u003cfigure id=\"attachment_10962213\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10962213\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT.jpg\" alt=\"Example slide from SFAC report\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Example slide from SFAC report \u003ccite>(Courtesy: SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The numbers were promising. According to the housing site \u003ca href=\"https://www.zumper.com/blog/2016/01/zumper-national-rent-report-january-2016/\" target=\"_blank\" rel=\"noopener\">Zumper\u003c/a>, average rent for a one-bedroom apartment in Vallejo is $1,100; in Oakland that jumps to $2,210 and in San Francisco, it’s a cool $3,490. In the same SFAC survey, artists pay an average of $1.75 per square foot for their studio spaces. In Vallejo’s Coal Shed Studios, one of the city’s largest complexes of artists’ working spaces, the average rate is $1 per square foot, a price that was set 10 years ago.\u003c/p>\n\u003cp>With all these figures rumbling in our heads, it didn’t take as long as we expected to drive up I-80 from Oakland, across the Carquinez Bridge and into downtown Vallejo. “It’s so close!” we said to each other with surprise.\u003c/p>\n\u003cfigure id=\"attachment_11174534\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SuperClassyB1200.jpg\" alt=\"Andy Rottner displays 'S, T, Steketee,' a book with art by Liz Steketee.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Rottner displays ‘S, T, Steketee,’ a book with art by Liz Steketee. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A Super Classy Garage\u003c/h3>\n\u003cp>Trees making the shift from green to red, orange and yellow lined the streets. Winding up a hill on the east side of town, we arrived at the home of \u003ca href=\"http://www.superclassypublishing.com/\" target=\"_blank\" rel=\"noopener\">Super Classy Publishing\u003c/a>, a nondescript ranch style house on a suburban street that could have been anywhere in the Bay Area.\u003c/p>\n\u003cp>It is also the home of Andy and Katie Rottner, who have turned their garage (“Who needs to park their car in their garage?” says Katie) into a small publishing operation. The couple moved to Vallejo from Oakland in 2013, finding a house with plenty of space for both their young family and their studio, not to mention sweeping views of the city and San Pablo Bay. Making meticulous cloth-covered boxes and limited edition artist books — many one-of-a-kind — the Rottners carve out a supplemental income doing what they love.\u003c/p>\n\u003cfigure id=\"attachment_11174533\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SuperClassy1200.jpg\" alt=\"Super Classy Publishing book 'I'm Over Here Now,' with art by Danny White.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Super Classy Publishing book ‘I’m Over Here Now,’ with art by Danny White. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Katie works from home as a marketing copywriter, Andy teaches bookbinding at the San Francisco Art Institute and San Francisco Center for the Book, commuting several days a week into San Francisco. He often takes the ferry, which he deems “very civilized” in comparison to the “very grim” stop-and-go highway traffic during commuting hours.\u003c/p>\n\u003cp>Relative newcomers to the city, the Rottners also feel a bit disconnected from the local arts scene. Their clients come mostly from San Francisco and the East Bay. “I wish we were better connected to the day-to-day art world in Vallejo,” said Andy. “I think the art world here is super grassroots. People are very prideful about it, but there’s no central forum.”\u003c/p>\n\u003cp>“Well the Hub is sort of that,” said Katie.\u003c/p>\n\u003cp>Speak of the devil, we said — we’re going there next.\u003c/p>\n\u003cfigure id=\"attachment_11174535\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174535\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200.jpg\" alt=\"Vallejo Art Window by Brad Isdrab.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Vallejo Art Window by Brad Isdrab. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hubbub at the Hub\u003c/h3>\n\u003cp>At the corner of Georgia and Marin Streets in downtown Vallejo stands \u003ca href=\"http://oddfellowsvallejo.org/\" target=\"_blank\" rel=\"noopener\">Odd Fellows San Pablo Lodge #43\u003c/a>, home to the city’s longstanding chapter of the community-minded social club.\u003c/p>\n\u003cp>“Since the 1990s, downtown Vallejo has slowly turned into a near-ghost town, with empty storefronts lining what was once the booming main street of Vallejo,” the lodge wrote on its Facebook page in August 2013. “We need to bring business and life back to downtown.” With that, the order’s ground-floor retail space transformed into \u003ca href=\"http://www.thehubvallejo.com/Home_-_The_Hub_Vallejo.html\" target=\"_blank\" rel=\"noopener\">the Hub\u003c/a>, a multi-purpose space hosting workshops and events, selling artists’ wares and providing a gathering space for arts enthusiasts of all ages.\u003c/p>\n\u003cp>When we arrived, the Hub was bustling. Easily two dozen people roamed through the displays of art, crafted objects and jewelry. It wasn’t just a crowd of casual shoppers; everyone clearly knew each other. Realization dawned: They were all here to meet us.\u003c/p>\n\u003cfigure id=\"attachment_11174536\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174536\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/IMG_7014-e1450490596273.jpg\" alt=\"Utility box art in downtown Vallejo.\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_7014-e1450490596273.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_7014-e1450490596273-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Utility box art in downtown Vallejo. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Word had spread through Ric Duran, a self-described “volunteer junkie” active with a wide variety of Vallejo organizations. Duran told us he made more friends in six months of living in Vallejo than he did in six years of life in San Francisco. The crowd he’d gathered was tangible proof of that.\u003c/p>\n\u003cp>Over the next two hours we talked to everyone — from the “oldest living Vallejo artist” to the president of the Vallejo Symphony. If the day’s conversation floated into a word cloud above our heads, “community,” “belonging,” “great energy” and “momentum” emerged as the clear favorites.\u003c/p>\n\u003cp>Vallejo resident Karen Sims spoke of the range of community-based initiatives, saying the artistic opportunities in the city give people “vibrancy and hope.” Erin Bakke, artist and founder of \u003ca href=\"http://vallejoartwindows.com/\" target=\"_blank\" rel=\"noopener\">Vallejo Art Windows\u003c/a>, a project that puts local artists’ installations in vacant storefronts, said, “You can feel it, there’s a vibe… it’s very energizing.”\u003c/p>\n\u003cp>The superlatives themselves gained momentum. Chris Viridian, one of the Hub’s co-founders, moved to Vallejo after the city filed for bankruptcy. At the time, his monthly mortgage cost less than what he had been paying in rent elsewhere. “A lot of artists moved in because it was cheap,” he said. “Right now, what we have is very reminiscent of what we had in Paris in the 1930s,” he said. “It is always the artists that turn the communities around.”\u003c/p>\n\u003cp>The Rottners touched on this very subject earlier in the day, but with a hint more caution: “I think the issue is, you make Vallejo better, but you don’t want to change its essential nature. Part of what’s great about it is how it is now,” said Andy. “I think that’s something a lot of places in the Bay Area are facing. How do you improve things?”\u003c/p>\n\u003cp>The Hub and people gathered within it seem to focus their energies on the downtown area, in a grassroots form of \u003ca href=\"https://www.arts.gov/sites/default/files/CreativePlacemaking-Paper.pdf\" target=\"_blank\" rel=\"noopener\">creative placemaking\u003c/a>. The second Friday of every month, the \u003ca href=\"http://www.vallejoartwalk.com/vallejoartwalk/home.html\" target=\"_blank\" rel=\"noopener\">Vallejo Art Walk\u003c/a> brings artists, food vendors, musicians and locals to the downtown blocks, joining forces with 31 nearby businesses. Across the street from the Hub, the folks at Artiszen — not to be confused with having anything to do with Zen Buddhism — talked to us about their planned summer arts classes for Vallejo children. The city’s annual Mad Hatter Holiday Festival gathers flame-spouting art cars, the local California Maritime Academy’s marching band and (this year) Storm Troopers in a parade down Georgia Street, ending with a tree-lighting festival.\u003c/p>\n\u003cp>Such gathering spots and events, instituted by a local arts community of mostly transplants, have entwined themselves in the very fabric of the city. But in the push to revitalize downtown Vallejo through the arts scene, is there still room for projects that don’t produce objects or fit under the umbrella of “community arts”? What does it mean to live in Vallejo if you don’t make large-scale Burning Man sculptures, steampunk accoutrements or window displays?\u003c/p>\n\u003cp>As we left the Hub, we set out to answer that very question.\u003c/p>\n\u003cfigure id=\"attachment_11174531\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174531\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ReSoundA1200.jpg\" alt=\"An old storage building on Mare Island, where Re:Sound concerts take place.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An old storage building on Mare Island, where Re:Sound concerts take place. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Reverb with Re:Sound\u003c/h3>\n\u003cp>After a hurried but delicious lunch at Gracie’s BBQ, we journeyed across the Napa River to Mare Island. The Mare Island Naval Shipyard, a major element of the city’s economic engine throughout its history, closed in 1996, leaving behind rusting equipment, acres of empty buildings and the loss of 5,800 jobs. Today the strip of land is home to (among others) Touro University, a golf club, a prefabricated home company and the \u003ca href=\"http://www.mareislandpreserve.org/MareIslandPreserve/Homepage.html\" target=\"_blank\" rel=\"noopener\">Mare Island Shoreline Heritage Preserve\u003c/a>, aka the location of an experimental sound concert series called \u003ca href=\"http://www.re-sound.net/\" target=\"_blank\" rel=\"noopener\">Re:Sound\u003c/a>.\u003c/p>\n\u003cp>Sound artist and special education teacher Jen Boyd greeted us at what looked like the end of Railroad Avenue, unlocking a chain-link gate to lead us deeper into the preserve, fennel surrounding us pungently on all sides.\u003c/p>\n\u003cp>Re:Sound is just one year old, but Boyd says the response has been extremely positive. Her two- to five-hour-long concerts bring sound artist luminaries into a cavernous concrete building formerly used by the Navy to store munitions. “Everyone I bring here is like, ‘I didn’t know this existed,’” she says.\u003c/p>\n\u003cfigure id=\"attachment_11174530\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174530\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ReSound1200.jpg\" alt=\"Jen Boyd against a background of wild fennel.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jen Boyd against a background of wild fennel. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her voice echoes for what feels like forever — the building creates a six-second tail of reverberation. “When artists play here, their pieces are driven by the space,” she says. Each concert draws an audience of about 120 people from all over Northern California to what Boyd likes to a call “a forgotten space.”\u003c/p>\n\u003cp>For Boyd, who relocated from Oakland to buy a home in Vallejo in 2010, Re:Sound is a labor of love. She provides the generators, porta-potties and promotional materials for each concert, and helps the performers out as much as possible with travel costs. “I wanted to bring something to Vallejo,” she says. “I play a lot in San Francisco and Los Angeles and I just wanted to bring something here.”\u003c/p>\n\u003cp>The next Re:Sound concert will be a two-day affair on Feb. 20 and 21, scheduled to coincide with the \u003ca href=\"http://www.sfbayflywayfestival.com/San_Francisco_Bay_Flyway_Festival/San_Francisco_Bay_Flyway_Festival.html\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Flyway Festival\u003c/a>, a celebration of aviary wildlife at the peak of their migration. Distancing herself from certain activities at the Hub (fire-breathing sculpture, for one), she underlines the importance of listening to nature — in both the Re:Sound concerts and her own work.\u003c/p>\n\u003cp>Does Boyd, like everyone else we met, think we, too, should move to Vallejo? Yes, but with a caveat: “I think people should come so we can start more diverse stuff.”\u003c/p>\n\u003cfigure id=\"attachment_11174532\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174532\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ReSoundB1200.jpg\" alt=\"The interior, resounding space of the Re:Sound building.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The interior, resounding space of the Re:Sound building. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>What We Didn’t See\u003c/h3>\n\u003cp>It was time to leave the “Up-Bay.” (We don’t know if this is a real thing that people say, we only heard it once.) But surrounded by eight-foot-tall fennel plants, the car wouldn’t start. Would we be trapped on Mare Island forever? Would that be so bad?\u003c/p>\n\u003cp>Partly due to our prolonged stay at the Hub, and partly due to our own underestimation of what Vallejo had to offer, we ran out of time to accomplish our day trip’s lofty goals. We didn’t see the restored interior of the \u003ca href=\"http://empresstheatre.org/\" target=\"_blank\" rel=\"noopener\">Empress Theatre\u003c/a>, a 471-seat music and performance venue downtown. We didn’t have time to visit the \u003ca href=\"http://coalshedstudios.com/\" target=\"_blank\" rel=\"noopener\">Coal Shed Studios\u003c/a> on Mare Island, where 18 artists pursue their practices. We did meet Henry Beecher, chair of the \u003ca href=\"http://www.mccunecollection.org/\" target=\"_blank\" rel=\"noopener\">McCune Rare Book and Art Collection\u003c/a>, but we couldn’t browse the collection itself. We ate BBQ chicken, but we didn’t sample any recommended taco trucks. We didn’t even catch a glimpse of the ferry to San Francisco, let alone sample the \u003ca href=\"http://www.mareislandbrewingco.com/\" target=\"_blank\" rel=\"noopener\">Mare Island Brewing Company’s Taproom\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The car finally started and we began our reverse commute back to the East Bay. With rental rates in the Bay Area showing no sign of decline, perhaps Vallejo \u003ci>is\u003c/i> the burgeoning art community you’re looking for. We barely scratched the surface. And \u003ca href=\"http://www.zillow.com/vallejo-ca/\" target=\"_blank\" rel=\"noopener\">Zillow’s looking good\u003c/a>, at least to Lakshmi.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It started as a day trip and ended with searches on Zillow. We — visual arts editor Sarah Hotchkiss and KQED Arts contributor Lakshmi Sarah — had lofty goals for our sojourn to Vallejo. We would take in the local flavor, visit arts organizations, meet artists, tour some studios, eat lunch and be back on the road by 3pm.\u003c/p>\n\u003cp>We had no idea what we were getting into.\u003c/p>\n\u003cp>The impetus for our trip was a deluge of messages in response to our \u003ca href=\"http://ww2.kqed.org/arts/2015/10/20/new-map-charts-changing-landscape-for-arts-in-bay-area/\">Oct. 2015 map\u003c/a> of recently closed, relocated or opened arts spaces in the Bay Area. “I will say, from my experience as well as the experiences of other artists that I know and work with, Vallejo is the burgeoning art community you are looking for,” wrote Cate Muzaffar. “We are having an art explosion in Vallejo!” wrote Sherry Tobin.\u003c/p>\n\u003cp>\u003cem>Well, alright then\u003c/em>, we said, \u003cem>if the community we didn’t know we were looking for is just 30 miles away, let’s go check out this explosion\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11174529\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174529\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Artiszen1200.jpg\" alt=\"A view of ArtisZen over an art car.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of ArtisZen over an art car. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Vallejo: City of Opportunity\u003c/h3>\n\u003cp>Vallejo might be best known for declaring bankruptcy in 2008. Until Stockton followed suit in 2012, Vallejo was the largest city in California to do so. The stigma from this badge of dishonor is still tangible, but the city is making strides to achieve economic stability — even growth — four years after a federal judge released them from their Chapter 9 status.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, the city’s population hovers around 120,000. According to the 2010 census, the demographics break down to 25 percent white, 22.1 percent Black, 22.6 percent Hispanic or Latino, and 24.9 percent Asian. The largest employers in Vallejo are Kaiser Permanente, Six Flags Discovery Kingdom (yes, the theme park) and the Vallejo Unified School District.\u003c/p>\n\u003cp>But we drove there to talk to a different subset of the community — the artists, the makers, the publishers, the experimental concert organizers — those able to hold court in their garage, community arts center or decommissioned naval base in the middle of a Thursday.\u003c/p>\n\u003cp>We wanted to know if Vallejo offers a viable alternative to eking out art practices in cramped (yet bustling) cities with astronomical rents. And this wasn’t just a personal quest. In September 2015, when the San Francisco Arts Commission \u003ca href=\"http://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">surveyed individual artists\u003c/a> about their space needs, 28 percent of respondents had been or were being displaced from their homes, 26 percent from their studios and 23 percent from both. Vallejo was a litmus test: Can an arts community grow and flourish in a remote city still recovering from bankruptcy?\u003c/p>\n\u003cfigure id=\"attachment_10962213\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10962213\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT.jpg\" alt=\"Example slide from SFAC report\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Example slide from SFAC report \u003ccite>(Courtesy: SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The numbers were promising. According to the housing site \u003ca href=\"https://www.zumper.com/blog/2016/01/zumper-national-rent-report-january-2016/\" target=\"_blank\" rel=\"noopener\">Zumper\u003c/a>, average rent for a one-bedroom apartment in Vallejo is $1,100; in Oakland that jumps to $2,210 and in San Francisco, it’s a cool $3,490. In the same SFAC survey, artists pay an average of $1.75 per square foot for their studio spaces. In Vallejo’s Coal Shed Studios, one of the city’s largest complexes of artists’ working spaces, the average rate is $1 per square foot, a price that was set 10 years ago.\u003c/p>\n\u003cp>With all these figures rumbling in our heads, it didn’t take as long as we expected to drive up I-80 from Oakland, across the Carquinez Bridge and into downtown Vallejo. “It’s so close!” we said to each other with surprise.\u003c/p>\n\u003cfigure id=\"attachment_11174534\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SuperClassyB1200.jpg\" alt=\"Andy Rottner displays 'S, T, Steketee,' a book with art by Liz Steketee.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Rottner displays ‘S, T, Steketee,’ a book with art by Liz Steketee. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A Super Classy Garage\u003c/h3>\n\u003cp>Trees making the shift from green to red, orange and yellow lined the streets. Winding up a hill on the east side of town, we arrived at the home of \u003ca href=\"http://www.superclassypublishing.com/\" target=\"_blank\" rel=\"noopener\">Super Classy Publishing\u003c/a>, a nondescript ranch style house on a suburban street that could have been anywhere in the Bay Area.\u003c/p>\n\u003cp>It is also the home of Andy and Katie Rottner, who have turned their garage (“Who needs to park their car in their garage?” says Katie) into a small publishing operation. The couple moved to Vallejo from Oakland in 2013, finding a house with plenty of space for both their young family and their studio, not to mention sweeping views of the city and San Pablo Bay. Making meticulous cloth-covered boxes and limited edition artist books — many one-of-a-kind — the Rottners carve out a supplemental income doing what they love.\u003c/p>\n\u003cfigure id=\"attachment_11174533\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SuperClassy1200.jpg\" alt=\"Super Classy Publishing book 'I'm Over Here Now,' with art by Danny White.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Super Classy Publishing book ‘I’m Over Here Now,’ with art by Danny White. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Katie works from home as a marketing copywriter, Andy teaches bookbinding at the San Francisco Art Institute and San Francisco Center for the Book, commuting several days a week into San Francisco. He often takes the ferry, which he deems “very civilized” in comparison to the “very grim” stop-and-go highway traffic during commuting hours.\u003c/p>\n\u003cp>Relative newcomers to the city, the Rottners also feel a bit disconnected from the local arts scene. Their clients come mostly from San Francisco and the East Bay. “I wish we were better connected to the day-to-day art world in Vallejo,” said Andy. “I think the art world here is super grassroots. People are very prideful about it, but there’s no central forum.”\u003c/p>\n\u003cp>“Well the Hub is sort of that,” said Katie.\u003c/p>\n\u003cp>Speak of the devil, we said — we’re going there next.\u003c/p>\n\u003cfigure id=\"attachment_11174535\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174535\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200.jpg\" alt=\"Vallejo Art Window by Brad Isdrab.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Vallejo Art Window by Brad Isdrab. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hubbub at the Hub\u003c/h3>\n\u003cp>At the corner of Georgia and Marin Streets in downtown Vallejo stands \u003ca href=\"http://oddfellowsvallejo.org/\" target=\"_blank\" rel=\"noopener\">Odd Fellows San Pablo Lodge #43\u003c/a>, home to the city’s longstanding chapter of the community-minded social club.\u003c/p>\n\u003cp>“Since the 1990s, downtown Vallejo has slowly turned into a near-ghost town, with empty storefronts lining what was once the booming main street of Vallejo,” the lodge wrote on its Facebook page in August 2013. “We need to bring business and life back to downtown.” With that, the order’s ground-floor retail space transformed into \u003ca href=\"http://www.thehubvallejo.com/Home_-_The_Hub_Vallejo.html\" target=\"_blank\" rel=\"noopener\">the Hub\u003c/a>, a multi-purpose space hosting workshops and events, selling artists’ wares and providing a gathering space for arts enthusiasts of all ages.\u003c/p>\n\u003cp>When we arrived, the Hub was bustling. Easily two dozen people roamed through the displays of art, crafted objects and jewelry. It wasn’t just a crowd of casual shoppers; everyone clearly knew each other. Realization dawned: They were all here to meet us.\u003c/p>\n\u003cfigure id=\"attachment_11174536\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174536\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/IMG_7014-e1450490596273.jpg\" alt=\"Utility box art in downtown Vallejo.\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_7014-e1450490596273.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_7014-e1450490596273-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Utility box art in downtown Vallejo. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Word had spread through Ric Duran, a self-described “volunteer junkie” active with a wide variety of Vallejo organizations. Duran told us he made more friends in six months of living in Vallejo than he did in six years of life in San Francisco. The crowd he’d gathered was tangible proof of that.\u003c/p>\n\u003cp>Over the next two hours we talked to everyone — from the “oldest living Vallejo artist” to the president of the Vallejo Symphony. If the day’s conversation floated into a word cloud above our heads, “community,” “belonging,” “great energy” and “momentum” emerged as the clear favorites.\u003c/p>\n\u003cp>Vallejo resident Karen Sims spoke of the range of community-based initiatives, saying the artistic opportunities in the city give people “vibrancy and hope.” Erin Bakke, artist and founder of \u003ca href=\"http://vallejoartwindows.com/\" target=\"_blank\" rel=\"noopener\">Vallejo Art Windows\u003c/a>, a project that puts local artists’ installations in vacant storefronts, said, “You can feel it, there’s a vibe… it’s very energizing.”\u003c/p>\n\u003cp>The superlatives themselves gained momentum. Chris Viridian, one of the Hub’s co-founders, moved to Vallejo after the city filed for bankruptcy. At the time, his monthly mortgage cost less than what he had been paying in rent elsewhere. “A lot of artists moved in because it was cheap,” he said. “Right now, what we have is very reminiscent of what we had in Paris in the 1930s,” he said. “It is always the artists that turn the communities around.”\u003c/p>\n\u003cp>The Rottners touched on this very subject earlier in the day, but with a hint more caution: “I think the issue is, you make Vallejo better, but you don’t want to change its essential nature. Part of what’s great about it is how it is now,” said Andy. “I think that’s something a lot of places in the Bay Area are facing. How do you improve things?”\u003c/p>\n\u003cp>The Hub and people gathered within it seem to focus their energies on the downtown area, in a grassroots form of \u003ca href=\"https://www.arts.gov/sites/default/files/CreativePlacemaking-Paper.pdf\" target=\"_blank\" rel=\"noopener\">creative placemaking\u003c/a>. The second Friday of every month, the \u003ca href=\"http://www.vallejoartwalk.com/vallejoartwalk/home.html\" target=\"_blank\" rel=\"noopener\">Vallejo Art Walk\u003c/a> brings artists, food vendors, musicians and locals to the downtown blocks, joining forces with 31 nearby businesses. Across the street from the Hub, the folks at Artiszen — not to be confused with having anything to do with Zen Buddhism — talked to us about their planned summer arts classes for Vallejo children. The city’s annual Mad Hatter Holiday Festival gathers flame-spouting art cars, the local California Maritime Academy’s marching band and (this year) Storm Troopers in a parade down Georgia Street, ending with a tree-lighting festival.\u003c/p>\n\u003cp>Such gathering spots and events, instituted by a local arts community of mostly transplants, have entwined themselves in the very fabric of the city. But in the push to revitalize downtown Vallejo through the arts scene, is there still room for projects that don’t produce objects or fit under the umbrella of “community arts”? What does it mean to live in Vallejo if you don’t make large-scale Burning Man sculptures, steampunk accoutrements or window displays?\u003c/p>\n\u003cp>As we left the Hub, we set out to answer that very question.\u003c/p>\n\u003cfigure id=\"attachment_11174531\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174531\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ReSoundA1200.jpg\" alt=\"An old storage building on Mare Island, where Re:Sound concerts take place.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An old storage building on Mare Island, where Re:Sound concerts take place. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Reverb with Re:Sound\u003c/h3>\n\u003cp>After a hurried but delicious lunch at Gracie’s BBQ, we journeyed across the Napa River to Mare Island. The Mare Island Naval Shipyard, a major element of the city’s economic engine throughout its history, closed in 1996, leaving behind rusting equipment, acres of empty buildings and the loss of 5,800 jobs. Today the strip of land is home to (among others) Touro University, a golf club, a prefabricated home company and the \u003ca href=\"http://www.mareislandpreserve.org/MareIslandPreserve/Homepage.html\" target=\"_blank\" rel=\"noopener\">Mare Island Shoreline Heritage Preserve\u003c/a>, aka the location of an experimental sound concert series called \u003ca href=\"http://www.re-sound.net/\" target=\"_blank\" rel=\"noopener\">Re:Sound\u003c/a>.\u003c/p>\n\u003cp>Sound artist and special education teacher Jen Boyd greeted us at what looked like the end of Railroad Avenue, unlocking a chain-link gate to lead us deeper into the preserve, fennel surrounding us pungently on all sides.\u003c/p>\n\u003cp>Re:Sound is just one year old, but Boyd says the response has been extremely positive. Her two- to five-hour-long concerts bring sound artist luminaries into a cavernous concrete building formerly used by the Navy to store munitions. “Everyone I bring here is like, ‘I didn’t know this existed,’” she says.\u003c/p>\n\u003cfigure id=\"attachment_11174530\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174530\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ReSound1200.jpg\" alt=\"Jen Boyd against a background of wild fennel.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jen Boyd against a background of wild fennel. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her voice echoes for what feels like forever — the building creates a six-second tail of reverberation. “When artists play here, their pieces are driven by the space,” she says. Each concert draws an audience of about 120 people from all over Northern California to what Boyd likes to a call “a forgotten space.”\u003c/p>\n\u003cp>For Boyd, who relocated from Oakland to buy a home in Vallejo in 2010, Re:Sound is a labor of love. She provides the generators, porta-potties and promotional materials for each concert, and helps the performers out as much as possible with travel costs. “I wanted to bring something to Vallejo,” she says. “I play a lot in San Francisco and Los Angeles and I just wanted to bring something here.”\u003c/p>\n\u003cp>The next Re:Sound concert will be a two-day affair on Feb. 20 and 21, scheduled to coincide with the \u003ca href=\"http://www.sfbayflywayfestival.com/San_Francisco_Bay_Flyway_Festival/San_Francisco_Bay_Flyway_Festival.html\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Flyway Festival\u003c/a>, a celebration of aviary wildlife at the peak of their migration. Distancing herself from certain activities at the Hub (fire-breathing sculpture, for one), she underlines the importance of listening to nature — in both the Re:Sound concerts and her own work.\u003c/p>\n\u003cp>Does Boyd, like everyone else we met, think we, too, should move to Vallejo? Yes, but with a caveat: “I think people should come so we can start more diverse stuff.”\u003c/p>\n\u003cfigure id=\"attachment_11174532\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174532\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ReSoundB1200.jpg\" alt=\"The interior, resounding space of the Re:Sound building.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The interior, resounding space of the Re:Sound building. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>What We Didn’t See\u003c/h3>\n\u003cp>It was time to leave the “Up-Bay.” (We don’t know if this is a real thing that people say, we only heard it once.) But surrounded by eight-foot-tall fennel plants, the car wouldn’t start. Would we be trapped on Mare Island forever? Would that be so bad?\u003c/p>\n\u003cp>Partly due to our prolonged stay at the Hub, and partly due to our own underestimation of what Vallejo had to offer, we ran out of time to accomplish our day trip’s lofty goals. We didn’t see the restored interior of the \u003ca href=\"http://empresstheatre.org/\" target=\"_blank\" rel=\"noopener\">Empress Theatre\u003c/a>, a 471-seat music and performance venue downtown. We didn’t have time to visit the \u003ca href=\"http://coalshedstudios.com/\" target=\"_blank\" rel=\"noopener\">Coal Shed Studios\u003c/a> on Mare Island, where 18 artists pursue their practices. We did meet Henry Beecher, chair of the \u003ca href=\"http://www.mccunecollection.org/\" target=\"_blank\" rel=\"noopener\">McCune Rare Book and Art Collection\u003c/a>, but we couldn’t browse the collection itself. We ate BBQ chicken, but we didn’t sample any recommended taco trucks. We didn’t even catch a glimpse of the ferry to San Francisco, let alone sample the \u003ca href=\"http://www.mareislandbrewingco.com/\" target=\"_blank\" rel=\"noopener\">Mare Island Brewing Company’s Taproom\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The car finally started and we began our reverse commute back to the East Bay. With rental rates in the Bay Area showing no sign of decline, perhaps Vallejo \u003ci>is\u003c/i> the burgeoning art community you’re looking for. We barely scratched the surface. And \u003ca href=\"http://www.zillow.com/vallejo-ca/\" target=\"_blank\" rel=\"noopener\">Zillow’s looking good\u003c/a>, at least to Lakshmi.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "usc-study-hollywood-has-a-major-diversity-problem",
"title": "USC Study: Hollywood Has a Major Diversity Problem",
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"headTitle": "USC Study: Hollywood Has a Major Diversity Problem | KQED",
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"content": "\u003cp>A newly released study suggests diversity in TV and film is so bad that the hashtag #OscarsSoWhite should probably be changed to #HollywoodSoWhite.\u003c/p>\n\u003cp>That’s because of an “epidemic of invisibility” cited by researchers at the University of Southern California, who analyzed more than 21,000 characters and behind-the-scenes workers on more than 400 films and TV shows released from September 2014 through August 2015. They tabulated representations of gender, race, ethnicity and sexual status.\u003c/p>\n\u003cp>“We’re seeing that there’s not just a diversity problem in Hollywood; there’s actually an inclusion crisis,” Stacy L. Smith, one of the study’s authors and founding director of the Media, Diversity and Social Change Initiative at USC’s Annenberg School for Communication and Journalism, said in an interview.\u003c/p>\n\u003cp>The study, \u003ca href=\"http://annenberg.usc.edu/pages/~/media/MDSCI/CARDReport%20FINAL%2022216.ashx\">titled “Inclusion or Invisibility? Comprehensive Annenberg Report on Diversity in Entertainment,”\u003c/a> found just one-third of speaking characters were female (33.5 percent), despite the fact that women represent just over half the population in America. Just 28.3 percent of characters with dialogue were from nonwhite racial/ethnic groups, though such groups are nearly 40 percent of the U.S. population.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I think we’re seeing, across the landscape, an erasure of certain groups… This is really [an] epidemic of invisibility.’\u003ccite>USC study author Stacy L. Smith\u003c/cite>\u003c/aside>\n\u003cp>With less than a week before an Oscars ceremony that has already been criticized for an all-white slate of acting nominees, the study shows the film industry does worse than television.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just 3.4 percent of film directors were female, and only 7 percent of films had a cast whose balance of race and ethnicity reflected the country’s diversity. In broadcast TV, 17 percent of directors were female and 19 percent of programs were ethnically balanced.\u003c/p>\n\u003cp>Broadcast TV also saw a number of TV shows featuring characters of color debut during the study’s tabulation period, including \u003cem>Black-ish\u003c/em> and \u003cem>Fresh Off the Boat\u003c/em> on ABC, \u003cem>Jane the Virgin\u003c/em> on The CW, and \u003cem>Empire\u003c/em> on Fox.\u003c/p>\n\u003cp>Still, when researchers looked at all TV shows — including broadcast, cable and streaming services — they also found underrepresentation, noting that women of color over 40 were deemed “largely invisible” and just 22 percent of TV series creators were female.\u003c/p>\n\u003cp>Overall, the study found half the films and TV shows they analyzed had no Asian-speaking characters and more than one-fifth of them had no black characters with dialogue. Just 2 percent of speaking characters were identified as lesbian, gay, bisexual or transsexual, and more than half the LGBT characters in all the films they examined came from two movies.\u003c/p>\n\u003cp>“The film industry still functions as a straight, white, boy’s club,” the study states. In the interview, Smith says, “I think we’re seeing, across the landscape, an erasure of certain groups; women, people of color, the LGBT community … this is really [an] epidemic of invisibility that points to a lack of inclusivity across [film and TV].”\u003c/p>\n\u003cp>[contextly_sidebar id=”H0tNBlaRREak7fdaT3Do83mArhct2tNW”]\u003c/p>\n\u003cp>When looking at how women are depicted, the study found female characters were four times more likely to be shown in sexy attire, three times more likely to show some nudity and nearly four times as likely to be referred to as physically attractive.\u003c/p>\n\u003cp>But their results also indicated films and TV shows with women or people of color in the important jobs behind the scenes — director, producer or writer — tended to have better diversity numbers.\u003c/p>\n\u003cp>Across TV and film, the underrepresentation of nonwhite characters falls mostly on Hispanics. Among more than 10,000 characters whose race or ethnicity could be identified, proportions of white, black and Asian characters came close to U.S. population figures. But Hispanics were just 5.8 percent of characters, despite being about 17 percent of the U.S. population, according to Census Bureau data.\u003c/p>\n\u003cp>Researchers examined 109 films and 305 TV series across broadcast, cable and digital platforms. They also looked at more than 1,500 executives and graded 10 media companies for their onscreen and behind-the-scenes representation of women and people of color.\u003c/p>\n\u003cp>None of the six film distributors evaluated — 21st Century Fox, NBC Universal, Sony, the Walt Disney Company, Time Warner or Viacom — received a passing grade for inclusion. But among the TV companies they examined, Disney and the CW performed best, at 70 percent.\u003c/p>\n\u003cp>The study’s authors also suggest solutions for the lack of diversity, including creating target goals for inclusion that would be public and drawing up lists of potential hires for writing and directing jobs that would be 50 percent female and 38 percent people of color.\u003c/p>\n\u003cp>“It’s about who is greenlighting those decisions and who is giving the OK for certain stories to be told,” Smith says. “When a very narrow slice of the population is in control of power and has the ability to greenlight a project, then we are going to see products and stories that reflect that narrow worldview.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A newly released study suggests diversity in TV and film is so bad that the hashtag #OscarsSoWhite should probably be changed to #HollywoodSoWhite.\u003c/p>\n\u003cp>That’s because of an “epidemic of invisibility” cited by researchers at the University of Southern California, who analyzed more than 21,000 characters and behind-the-scenes workers on more than 400 films and TV shows released from September 2014 through August 2015. They tabulated representations of gender, race, ethnicity and sexual status.\u003c/p>\n\u003cp>“We’re seeing that there’s not just a diversity problem in Hollywood; there’s actually an inclusion crisis,” Stacy L. Smith, one of the study’s authors and founding director of the Media, Diversity and Social Change Initiative at USC’s Annenberg School for Communication and Journalism, said in an interview.\u003c/p>\n\u003cp>The study, \u003ca href=\"http://annenberg.usc.edu/pages/~/media/MDSCI/CARDReport%20FINAL%2022216.ashx\">titled “Inclusion or Invisibility? Comprehensive Annenberg Report on Diversity in Entertainment,”\u003c/a> found just one-third of speaking characters were female (33.5 percent), despite the fact that women represent just over half the population in America. Just 28.3 percent of characters with dialogue were from nonwhite racial/ethnic groups, though such groups are nearly 40 percent of the U.S. population.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I think we’re seeing, across the landscape, an erasure of certain groups… This is really [an] epidemic of invisibility.’\u003ccite>USC study author Stacy L. Smith\u003c/cite>\u003c/aside>\n\u003cp>With less than a week before an Oscars ceremony that has already been criticized for an all-white slate of acting nominees, the study shows the film industry does worse than television.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just 3.4 percent of film directors were female, and only 7 percent of films had a cast whose balance of race and ethnicity reflected the country’s diversity. In broadcast TV, 17 percent of directors were female and 19 percent of programs were ethnically balanced.\u003c/p>\n\u003cp>Broadcast TV also saw a number of TV shows featuring characters of color debut during the study’s tabulation period, including \u003cem>Black-ish\u003c/em> and \u003cem>Fresh Off the Boat\u003c/em> on ABC, \u003cem>Jane the Virgin\u003c/em> on The CW, and \u003cem>Empire\u003c/em> on Fox.\u003c/p>\n\u003cp>Still, when researchers looked at all TV shows — including broadcast, cable and streaming services — they also found underrepresentation, noting that women of color over 40 were deemed “largely invisible” and just 22 percent of TV series creators were female.\u003c/p>\n\u003cp>Overall, the study found half the films and TV shows they analyzed had no Asian-speaking characters and more than one-fifth of them had no black characters with dialogue. Just 2 percent of speaking characters were identified as lesbian, gay, bisexual or transsexual, and more than half the LGBT characters in all the films they examined came from two movies.\u003c/p>\n\u003cp>“The film industry still functions as a straight, white, boy’s club,” the study states. In the interview, Smith says, “I think we’re seeing, across the landscape, an erasure of certain groups; women, people of color, the LGBT community … this is really [an] epidemic of invisibility that points to a lack of inclusivity across [film and TV].”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When looking at how women are depicted, the study found female characters were four times more likely to be shown in sexy attire, three times more likely to show some nudity and nearly four times as likely to be referred to as physically attractive.\u003c/p>\n\u003cp>But their results also indicated films and TV shows with women or people of color in the important jobs behind the scenes — director, producer or writer — tended to have better diversity numbers.\u003c/p>\n\u003cp>Across TV and film, the underrepresentation of nonwhite characters falls mostly on Hispanics. Among more than 10,000 characters whose race or ethnicity could be identified, proportions of white, black and Asian characters came close to U.S. population figures. But Hispanics were just 5.8 percent of characters, despite being about 17 percent of the U.S. population, according to Census Bureau data.\u003c/p>\n\u003cp>Researchers examined 109 films and 305 TV series across broadcast, cable and digital platforms. They also looked at more than 1,500 executives and graded 10 media companies for their onscreen and behind-the-scenes representation of women and people of color.\u003c/p>\n\u003cp>None of the six film distributors evaluated — 21st Century Fox, NBC Universal, Sony, the Walt Disney Company, Time Warner or Viacom — received a passing grade for inclusion. But among the TV companies they examined, Disney and the CW performed best, at 70 percent.\u003c/p>\n\u003cp>The study’s authors also suggest solutions for the lack of diversity, including creating target goals for inclusion that would be public and drawing up lists of potential hires for writing and directing jobs that would be 50 percent female and 38 percent people of color.\u003c/p>\n\u003cp>“It’s about who is greenlighting those decisions and who is giving the OK for certain stories to be told,” Smith says. “When a very narrow slice of the population is in control of power and has the ability to greenlight a project, then we are going to see products and stories that reflect that narrow worldview.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Peter Mondavi, a Napa Valley wine country innovator who led his family's Charles Krug Winery through more than a half-century of change, has died. He was 101.\u003c/p>\n\u003cp>Mondavi died Saturday at his home in St. Helena, said Wendy Lane Stevens, a member of the C. Mondavi and Family board of directors.\u003c/p>\n\u003cp>Mondavi, who battled his more famous brother Robert Mondavi for control of Charles Krug, began his career at a time when the Napa Valley was known chiefly for cheap wine, and witnessed it grow into one of the world's premiere wine regions.\u003c/p>\n\u003cp>He played a part in that rise, pioneering a number of improvements to California winemaking, including the use of cold fermentation for white wines and sterile filtration. Charles Krug has been in the hands of the Mondavi family since 1943, when it was purchased by Mondavi's parents, Cesare and Rosa.\u003c/p>\n\u003cp>Peter and Robert ran the winery together after Cesare's death in 1959 but were unable to agree on management styles and split, with Robert founding the Robert Mondavi Winery in 1966. Later, the brothers reconciled and in 2005 celebrated their reunion by making a special blend of wine together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, Peter Mondavi's sons lead the family business. Marc Mondavi heads the 1.4 million-case CK Mondavi Vineyards division, producer of a popular line of affordable wines, and Peter Jr. leads Charles Krug, producer of premium Napa Valley wines.\u003c/p>\n\u003cp>Born Nov. 8, 1914, the youngest of four children, Mondavi got his start as a boy packing boxes for his father's grape-shipping business. He went on to earn a degree in economics from Stanford University in 1937 and was drawn to the wine business, studying enology at UC Berkeley.\u003c/p>\n\u003cp>World War II interrupted his career and Mondavi served in the military, returning stateside in 1946. Four years later he married Blanche Hurtzig, who died in 2010. The couple had three children, Marc, Peter Jr. and a daughter, Siena.\u003c/p>\n\u003cp>In his studies, Mondavi had researched the effects of cold fermentation on white and rose wines, which then were being fermented at higher temperatures, which meant they lost their fruity character through oxidation. He applied what he learned at the winery to make fresher whites.\u003c/p>\n\u003cp>Charles Krug also was the first Napa Valley winery to import French oak barrels to use in aging wine, and in 1963 was among the first to vintage-date varietal wines.\u003c/p>\n\u003cp>Determined to keep the winery family-owned despite corporate buyouts happening throughout the valley — the Robert Mondavi Winery was sold to Constellation Brands in 2004 — Peter Mondavi worked to preserve the family holdings, investing $24 million over a nine-year period to replant most of the vineyards and farm them sustainably. Today, the Peter Mondavi family owns 850 acres of prime vineyards in the Napa Valley.\u003c/p>\n\u003cp>Though he didn't run the day-to-day business, Mondavi continued to be a fixture at the office, climbing the two flights of stairs to his office even as a centenarian. He credited his stamina to good genes, hard work, pasta Bolognese — and a daily glass of cabernet sauvignon.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story contains biographical information compiled by former Associated Press Writer Michelle Locke.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>On January 24, 1975, a 29-year-old American arrived to play a solo concert at the opera house in Cologne. Sleepless and hungry, he discovered that he had been furnished a shoddy piano and nearly refused to perform.\u003c/p>\n\u003cp>The recording from that concert, over an hour of mercurial improvisation, went on to become the bestselling piano album in music history.\u003c/p>\n\u003cp>To the first 30 minutes of Keith Jarrett’s legendary \u003cem>The Köln Concert\u003c/em>, Colombian-Belgian choreographer Annabelle Lopez Ochoa has crafted \u003cem>Prism\u003c/em>. It’s a reverie for 10 dancers, delivered last night by Silicon Valley Ballet with allure and panache as part of the company’s \u003ca href=\"http://siliconvalleyballet.org/directors-choice/\" target=\"_blank\" rel=\"noopener\">“Director’s Choice”\u003c/a> program.\u003c/p>\n\u003cp>\u003cem>Prism\u003c/em> takes unexpected turns in concert with Jarrett’s improvisations, which hint at gospel, blues, lilting folk melodies, Rachmaninoff, and shimmering pattern music. The dancers weave in and out of each other’s orbit with astonishing fluidity. Though the couplings and triplings are evanescent, moments of stillness yield eloquent, poignant tableaux. When the score turns minimalist, however, Lopez Ochoa wittily mocks contemporary psychosexual ballet — her dancers emerge in clingy leotards with a spidery motif and chic diaphanous gloves, and contort themselves in byzantine poses.\u003c/p>\n\u003cp>Jarrett’s famous vocalizations are heard throughout the score: murmuring, groaning, sighing, crooning, and a satisfied “Yeahhh” – at which moment Lopez Ochoa ships in a couple in bright pink and orange. Among the crackerjack cast on opening night, Ommi Pipit-Suksun made sensational body lines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SVB Presents Director's Choice\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/9Kb8YPQK71w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Having just blown in from a tour of eight cities in Spain, the company appeared somewhat jet-lagged in the other two big pieces of the evening – Jorma Elo’s frenetic \u003cem>Glow Stop\u003c/em> and Ohad Naharin’s raucous \u003cem>Minus 16\u003c/em>. And it’s best to draw a veil over the classical pas de deux that opened the evening, \u003cem>Diana and Actaeon\u003c/em>, though an adorable Junna Ige and a rather anxious-looking Maykel Solas — who wore a very skimpy veil indeed over areas of critical musculature — tackled the hoary work ably enough.\u003c/p>\n\u003cp>\u003cem>Glow Stop\u003c/em> heaves a mass of punctuation and diacritical marks into the language of ballet. It’s a damned strenuous business for the dancers, who employ their arms, hands and heads as frantically as their legs and feet — and often in opposing directions. The dancers are bits of interlocking machinery, their faces stern and unreadable in the dramatic lighting designed by Brad Fields.\u003c/p>\n\u003cp>19 dancers identically attired in dark suits and fedoras execute the oppressive yet strangely uplifting rituals of \u003cem>Minus 16\u003c/em>. Not every one displays the ideal feral quality of movement. But the haunting scene in which the dancers fling themselves in and out of metal chairs while chanting a traditional Hebrew song is powerful despite the jet-lag, or whatever other affliction the dancers faced.\u003c/p>\n\u003cp>The work also includes moments of audience participation. Of the audience members herded on stage to participate in the final wild scene on opening night, the woman in red and the bearded gentleman in plaid and glasses displayed great aplomb. And the woman with the yellow scarf – possibly a grassroots organizer – showed commendable initiative in her attempt to free the group from what appeared to be a very dicey moment in the clutches of the wily dancers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Silicon Valley Ballet’s “Director’s Choice” program runs through Sunday, Feb. 21 at San Jose Center for the Performing Arts, San Jose. For more information, click \u003ca href=\"http://siliconvalleyballet.org/directors-choice/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cp>\u003cstrong>Now through Sunday, Apr. 10: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9313.asp\" target=\"_blank\" rel=\"noopener\">Macbeth\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003cbr>\n\u003c/strong>Frances McDormand (\u003cem>Fargo\u003c/em>, \u003cem>Hail, Caesar!\u003c/em>) and Conleth Hill (\u003cem>Game of Thrones\u003c/em>) star in a production of Shakespeare’s tragedy of ambition directed by Daniel Sullivan.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=jl6c3AXv_MI\">https://www.youtube.com/watch?v=jl6c3AXv_MI\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Now through Friday, Jul. 1: \u003cem>\u003ca href=\"http://www.pacegallery.com/arttechnology/exhibitions/12781/living-digital-space-and-future-parks\" target=\"_blank\" rel=\"noopener\">Living Digital Space and Future Parks\u003c/a>\u003c/em> at Pace Art + Technology, Menlo Park\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">An immersive-interactive light, sound and video exhibition featuring 20 works by the members of teamLab, a 400-member art collective based in Tokyo.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Apr. 28: Opera Parallele’s \u003cem>\u003ca href=\"https://sfjazz.org/events/2015-16/0221/champion\" target=\"_blank\" rel=\"noopener\">Champion an Opera in Jazz\u003c/a>\u003c/em> at SFJAZZ, San Francisco\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">San Francisco’s jazz center and one of the region’s most cutting-edge contemporary opera companies present jazz trumpeter and composer Terence Blanchard’s opera about bisexual boxer Emile Griffith.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 19: \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/arts-entertainment/call-your-girlfriend/\" target=\"_blank\" rel=\"noopener\">Call your Girlfriend\u003c/a>\u003c/em> at the Jewish Community Center, San Francisco \u003c/strong>\u003cbr>\nSan Francisco’s JCC presents a live podcast taping (and webstream) of the whip-smart, feminism-infused pop culture podcast created by NYmag.com columnist Ann Friedman, digital strategist/Forbes “30 Under 30” recipient Aminatou Sow and radio producer Gina Delvac.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Mar. 3 – 12: Oakland School for the Arts’ \u003cem>\u003ca href=\"http://sfcurran.com/event/school-of-rock-the-musical-youth-production/\" target=\"_blank\" rel=\"noopener\">School of Rock\u003c/a>\u003c/em> at the Curran Theatre, San Francisco\u003c/strong>\u003cbr>\nOSA snagged the rights to the first ever amateur production of this hit Broadway musical based on the 2003 movie starring Jack Black as a rock guitarist who finds himself working as a substitute teacher at an elementary school.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Now through Sunday, Apr. 10: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9313.asp\" target=\"_blank\" rel=\"noopener\">Macbeth\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003cbr>\n\u003c/strong>Frances McDormand (\u003cem>Fargo\u003c/em>, \u003cem>Hail, Caesar!\u003c/em>) and Conleth Hill (\u003cem>Game of Thrones\u003c/em>) star in a production of Shakespeare’s tragedy of ambition directed by Daniel Sullivan.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=jl6c3AXv_MI\">https://www.youtube.com/watch?v=jl6c3AXv_MI\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Now through Friday, Jul. 1: \u003cem>\u003ca href=\"http://www.pacegallery.com/arttechnology/exhibitions/12781/living-digital-space-and-future-parks\" target=\"_blank\" rel=\"noopener\">Living Digital Space and Future Parks\u003c/a>\u003c/em> at Pace Art + Technology, Menlo Park\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">An immersive-interactive light, sound and video exhibition featuring 20 works by the members of teamLab, a 400-member art collective based in Tokyo.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Apr. 28: Opera Parallele’s \u003cem>\u003ca href=\"https://sfjazz.org/events/2015-16/0221/champion\" target=\"_blank\" rel=\"noopener\">Champion an Opera in Jazz\u003c/a>\u003c/em> at SFJAZZ, San Francisco\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">San Francisco’s jazz center and one of the region’s most cutting-edge contemporary opera companies present jazz trumpeter and composer Terence Blanchard’s opera about bisexual boxer Emile Griffith.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 19: \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/arts-entertainment/call-your-girlfriend/\" target=\"_blank\" rel=\"noopener\">Call your Girlfriend\u003c/a>\u003c/em> at the Jewish Community Center, San Francisco \u003c/strong>\u003cbr>\nSan Francisco’s JCC presents a live podcast taping (and webstream) of the whip-smart, feminism-infused pop culture podcast created by NYmag.com columnist Ann Friedman, digital strategist/Forbes “30 Under 30” recipient Aminatou Sow and radio producer Gina Delvac.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Univision's Anchor Seeks New Audiences On Facebook — and Draws Millions",
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"content": "\u003cp>On the campaign trail, the chief anchor of the Spanish-language network Univision, Jorge Ramos, chases three quarries: voters, viewers and relevance.\u003c/p>\n\u003cp>A self-described dinosaur who insists on mastering new tricks, Ramos and his team now reach an audience of millions who are watching not on television, but via video streams on Facebook, captured by an iPhone clutched in a selfie stick.\u003c/p>\n\u003cp>The videos, long by network standards, sometimes run 45 minutes or an hour. They run on the social media platform's relatively new feature called Facebook Live. And they have achieved surprisingly strong results. On the night of the Iowa caucuses, Ramos' videos were viewed by 2.6 million people. On primary day in New Hampshire, his team posted three videos totaling 75 minutes. Although Univision did no marketing other than tweets and Facebook notifications, those videos from New Hampshire were collectively watched 4 million times. Those figures rival or exceed cable news figures, though they are not perfectly comparable.\u003c/p>\n\u003cp>\"We are going where the audience is,\" Ramos told me as I caught up to him on the day of the New Hampshire primaries earlier this month. \"There's a huge migration of eyes.\"\u003c/p>\n\u003cp>https://www.facebook.com/jorgeramosnews/videos/504564833062941/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ramos has three regular outlets for his reporting already; he is the co-anchor of Univision's nightly newscast of record, \u003cem>Noticiero Univision,\u003c/em> and the host of its Sunday public affairs show, \u003cem>Al Punto\u003c/em>. In addition, he is anchor of a weekly newsmagazine, \u003cem>America\u003c/em>, on Fusion, Univision's English-language sister cable channel. In essence, Ramos considers Facebook Live yet another channel, reaching younger viewers more oriented to mobile devices than traditional televisions.\u003c/p>\n\u003cp>\"For the first time, we are showing them exactly what you and I are doing — which are the basics of reporting: walking, getting the place, talking to people and to voters,\" Ramos said. \"When people see the process at night on the network news, they see the refined product. And I think they're kind of tired of that. They want to see the real thing. And this is the real thing.\"\u003c/p>\n\u003cp>The experiment is driven by Ramos' team from Fusion, which is geared toward millennials, with a Latin flavor. Fusion has not been able to draw the audiences it had hoped for on television, but it has created an aggressive digital effort.\u003c/p>\n\u003cp>\"What we've known all the time for Fusion is that if we try to compete with CNN or Fox, and do their ideas for our audience, it won't work, because that model has been tried, tested, and they've perfected it,\" said Dax Tejera, executive producer of \u003cem>America with Jorge Ramos\u003c/em>. \"It was increasingly clear to us that people were coming to see us through Facebook. And when Facebook Live became an option, and there is a lot of live coverage right now, it was a no-brainer.\" (The network has not yet figured out how to derive revenues from the videos: audience first, profits to be determined.)\u003c/p>\n\u003cp>For all that, television has been the source of considerable success, fame and influence for Ramos, a veteran broadcaster of three decades. The Mexican-born anchor has been insistent that politicians and presidential candidates in both parties address thorny questions important to Latinos, especially those on immigration. Last August, Republican front-runner Donald Trump had Ramos thrown out of a press conference. Trump later relented and staffers let Ramos back in, but the incident sparked national attention.\u003c/p>\n\u003cp>Ramos' network shows continue unabated, as staffers toggle between platforms. Fusion anchor Mariana Atencio said she demanded to leave the network's Miami studios to join Ramos' team in New Hampshire so she could participate in the live-stream broadcasts as well.\u003c/p>\n\u003cp>The equipment is stripped down, almost entirely reliant on technology available to the average consumer. But it requires production vigilance nonetheless. Some footage is grainy, depending on the quality of wireless connections. There's also instant feedback, as viewers watching live can post reactions, emoticons and comments. Producers hover nearby to suggest questions or discussions based on the response on Facebook Live.\u003c/p>\n\u003cp>https://www.facebook.com/jorgeramosnews/videos/504555899730501/\u003c/p>\n\u003cp>And the data allow Ramos' team to track not just the size of the audience but how viewers use the videos.\u003c/p>\n\u003cp>\"Since we're doing kind of raw coverage, and we're going for long periods of time, we're experimenting with throwing some Spanish in,\" Tejera said, estimating the split of Ramos' audience at about 50-50 between English speakers and Spanish speakers. \"What I find remarkable is that when he switches languages ... the live viewing audience doesn't really take a major shift. Jorge will volley between [them] over the 90 minutes and serve those two audiences.\"\u003c/p>\n\u003cp>What appears on Facebook Live is extended and often proves thoughtful. Facebook offers its broadcast partners the right to stream up to 90 minutes a day live; the resulting videos are archived on one of the network's pages. The videos are raw in two senses. As they are initially streamed live, there can be no internal edits. And Ramos' celebrity and controversies make him a recognizable character.\u003c/p>\n\u003cp>At Merrimack High School in New Hampshire, Ramos held a microphone adorned with a symbol for Fusion, Univision's less well-known English-language network. Cars were backed up for an hour to park as voters sought to cast ballots. Despite a very slight Latino population in the state, many voters instantly recognized Ramos as Univision's most prominent journalist.\u003c/p>\n\u003cp>He pressed one vocal Trump supporter holding a big placard aloft about the openness of the billionaire's campaign: \"Interesting that you say, 'We're not haters,' \" Ramos started. \"Some people might think that Mexicans, Muslims, women might not be welcome.\"\u003c/p>\n\u003cp>Mike Malzone, owner of a ceramic tile company in Merrimack, said he disagreed. \"We've never looked at people as color until the last seven years in this country,\" Malzone said. \"Really. I mean, let's be honest with it.\"\u003c/p>\n\u003cp>Then Malzone turned the question back on Ramos: \"I was disappointed with your station for quite some time because I could never SAP your station in English\" — that is, receive translation of Univision's Spanish newscasts into English in real time. \"You made me pay for that station. ... That wasn't cool, man. Right? Right? Is that racism?\"\u003c/p>\n\u003cp>\"No — it's not racism,\" Ramos replied, calmly. \"We simply broadcast in Spanish. That's all. Now I am also working for Fusion, so you can watch whatever we do in both.\" The translation service is now available for Univision.\u003c/p>\n\u003cp>Ramos then moved the discussion of Trump and rival Ted Cruz forward. But it all was captured on the video stream. It's highly unlikely that a similar exchange would make ABC News' \u003cem>World News\u003c/em>, or CBS' \u003cem>Face the Nation\u003c/em>.\u003c/p>\n\u003cp>Ramos remains unsatisfied with the quality of the iPhone camera, but he thinks it will inevitably improve.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, he valued that contentious exchange with Malzone and the rawness of his stream. \"I don't have the prompter or the lights or the set. It's the nature of our business — it's true reporting,\" Ramos said.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Univision%27s+Ramos+Seeks+New+Audiences+On+Facebook+%E2%80%94+And+Draws+Millions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the campaign trail, the chief anchor of the Spanish-language network Univision, Jorge Ramos, chases three quarries: voters, viewers and relevance.\u003c/p>\n\u003cp>A self-described dinosaur who insists on mastering new tricks, Ramos and his team now reach an audience of millions who are watching not on television, but via video streams on Facebook, captured by an iPhone clutched in a selfie stick.\u003c/p>\n\u003cp>The videos, long by network standards, sometimes run 45 minutes or an hour. They run on the social media platform's relatively new feature called Facebook Live. And they have achieved surprisingly strong results. On the night of the Iowa caucuses, Ramos' videos were viewed by 2.6 million people. On primary day in New Hampshire, his team posted three videos totaling 75 minutes. Although Univision did no marketing other than tweets and Facebook notifications, those videos from New Hampshire were collectively watched 4 million times. Those figures rival or exceed cable news figures, though they are not perfectly comparable.\u003c/p>\n\u003cp>\"We are going where the audience is,\" Ramos told me as I caught up to him on the day of the New Hampshire primaries earlier this month. \"There's a huge migration of eyes.\"\u003c/p>\n\u003cp>https://www.facebook.com/jorgeramosnews/videos/504564833062941/\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ramos has three regular outlets for his reporting already; he is the co-anchor of Univision's nightly newscast of record, \u003cem>Noticiero Univision,\u003c/em> and the host of its Sunday public affairs show, \u003cem>Al Punto\u003c/em>. In addition, he is anchor of a weekly newsmagazine, \u003cem>America\u003c/em>, on Fusion, Univision's English-language sister cable channel. In essence, Ramos considers Facebook Live yet another channel, reaching younger viewers more oriented to mobile devices than traditional televisions.\u003c/p>\n\u003cp>\"For the first time, we are showing them exactly what you and I are doing — which are the basics of reporting: walking, getting the place, talking to people and to voters,\" Ramos said. \"When people see the process at night on the network news, they see the refined product. And I think they're kind of tired of that. They want to see the real thing. And this is the real thing.\"\u003c/p>\n\u003cp>The experiment is driven by Ramos' team from Fusion, which is geared toward millennials, with a Latin flavor. Fusion has not been able to draw the audiences it had hoped for on television, but it has created an aggressive digital effort.\u003c/p>\n\u003cp>\"What we've known all the time for Fusion is that if we try to compete with CNN or Fox, and do their ideas for our audience, it won't work, because that model has been tried, tested, and they've perfected it,\" said Dax Tejera, executive producer of \u003cem>America with Jorge Ramos\u003c/em>. \"It was increasingly clear to us that people were coming to see us through Facebook. And when Facebook Live became an option, and there is a lot of live coverage right now, it was a no-brainer.\" (The network has not yet figured out how to derive revenues from the videos: audience first, profits to be determined.)\u003c/p>\n\u003cp>For all that, television has been the source of considerable success, fame and influence for Ramos, a veteran broadcaster of three decades. The Mexican-born anchor has been insistent that politicians and presidential candidates in both parties address thorny questions important to Latinos, especially those on immigration. Last August, Republican front-runner Donald Trump had Ramos thrown out of a press conference. Trump later relented and staffers let Ramos back in, but the incident sparked national attention.\u003c/p>\n\u003cp>Ramos' network shows continue unabated, as staffers toggle between platforms. Fusion anchor Mariana Atencio said she demanded to leave the network's Miami studios to join Ramos' team in New Hampshire so she could participate in the live-stream broadcasts as well.\u003c/p>\n\u003cp>The equipment is stripped down, almost entirely reliant on technology available to the average consumer. But it requires production vigilance nonetheless. Some footage is grainy, depending on the quality of wireless connections. There's also instant feedback, as viewers watching live can post reactions, emoticons and comments. Producers hover nearby to suggest questions or discussions based on the response on Facebook Live.\u003c/p>\n\u003cp>https://www.facebook.com/jorgeramosnews/videos/504555899730501/\u003c/p>\n\u003cp>And the data allow Ramos' team to track not just the size of the audience but how viewers use the videos.\u003c/p>\n\u003cp>\"Since we're doing kind of raw coverage, and we're going for long periods of time, we're experimenting with throwing some Spanish in,\" Tejera said, estimating the split of Ramos' audience at about 50-50 between English speakers and Spanish speakers. \"What I find remarkable is that when he switches languages ... the live viewing audience doesn't really take a major shift. Jorge will volley between [them] over the 90 minutes and serve those two audiences.\"\u003c/p>\n\u003cp>What appears on Facebook Live is extended and often proves thoughtful. Facebook offers its broadcast partners the right to stream up to 90 minutes a day live; the resulting videos are archived on one of the network's pages. The videos are raw in two senses. As they are initially streamed live, there can be no internal edits. And Ramos' celebrity and controversies make him a recognizable character.\u003c/p>\n\u003cp>At Merrimack High School in New Hampshire, Ramos held a microphone adorned with a symbol for Fusion, Univision's less well-known English-language network. Cars were backed up for an hour to park as voters sought to cast ballots. Despite a very slight Latino population in the state, many voters instantly recognized Ramos as Univision's most prominent journalist.\u003c/p>\n\u003cp>He pressed one vocal Trump supporter holding a big placard aloft about the openness of the billionaire's campaign: \"Interesting that you say, 'We're not haters,' \" Ramos started. \"Some people might think that Mexicans, Muslims, women might not be welcome.\"\u003c/p>\n\u003cp>Mike Malzone, owner of a ceramic tile company in Merrimack, said he disagreed. \"We've never looked at people as color until the last seven years in this country,\" Malzone said. \"Really. I mean, let's be honest with it.\"\u003c/p>\n\u003cp>Then Malzone turned the question back on Ramos: \"I was disappointed with your station for quite some time because I could never SAP your station in English\" — that is, receive translation of Univision's Spanish newscasts into English in real time. \"You made me pay for that station. ... That wasn't cool, man. Right? Right? Is that racism?\"\u003c/p>\n\u003cp>\"No — it's not racism,\" Ramos replied, calmly. \"We simply broadcast in Spanish. That's all. Now I am also working for Fusion, so you can watch whatever we do in both.\" The translation service is now available for Univision.\u003c/p>\n\u003cp>Ramos then moved the discussion of Trump and rival Ted Cruz forward. But it all was captured on the video stream. It's highly unlikely that a similar exchange would make ABC News' \u003cem>World News\u003c/em>, or CBS' \u003cem>Face the Nation\u003c/em>.\u003c/p>\n\u003cp>Ramos remains unsatisfied with the quality of the iPhone camera, but he thinks it will inevitably improve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, he valued that contentious exchange with Malzone and the rawness of his stream. \"I don't have the prompter or the lights or the set. It's the nature of our business — it's true reporting,\" Ramos said.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Univision%27s+Ramos+Seeks+New+Audiences+On+Facebook+%E2%80%94+And+Draws+Millions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This season, Downton Abbey has a new plot line that has health wonks on the edge of their seats: a heated debate about hospital consolidation that closely parallels what’s going on in the U.S. health care system today.\u003c/p>\n\u003cp>If you’re not a Downton fan (and even if you are), here’s a quick plot recap.\u003c/p>\n\u003caside class=\"pullquote alignright\">'The royal Yorkshire county hospital wants to take over our little hospital, which is outrageous!'\u003ccite> Dowager Countess of Grantham \u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>It’s 1925 for the lords and ladies at \u003ca href=\"http://www.pbs.org/wgbh/masterpiece/downtonabbey/\" target=\"_blank\">Downton Abbey \u003c/a>— think flapper dresses, cocktail parties and women’s rights. A big hospital in the nearby city of York is making a play to take over the Downton Cottage Hospital next to the posh estate. Or as Maggie Smith’s character, the Dowager Countess of Grantham, sees it, “The royal Yorkshire county hospital wants to take over our little hospital, which is outrageous!”\u003c/p>\n\u003cp>The battle lines have been drawn between the Dowager Countess, who wants the hospital to stay a small community endeavor, and the rest of the family, which hopes the merger will turn the dinky open-ward affair into a first-rate modern medical institution.\u003c/p>\n\u003cp>Health care historian Howard Markel, who runs the \u003ca href=\"http://chm.med.umich.edu/\" target=\"_blank\">Center for the History of Medicine at the University of Michigan\u003c/a>, said the conceit is actually fairly accurate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The 1920s really begins the golden age of medicine,” he explained. Before then, hospitals didn’t have much to offer in the way of treatment.\u003c/p>\n\u003cp>“They were really based on old time 19th century medicine, and what that entails is basically nursing. You feed people, you make them comfortable.”\u003c/p>\n\u003cp>There weren’t many medications — no antibiotics, insulin or even intravenous fluids.\u003c/p>\n\u003cp>But in the early 20th century, all sorts of new medical technologies came onto the scene — new ways to peer into the body, new medications and pathogen-free surgeries.\u003c/p>\n\u003cp>To provide modern care, “you need X-ray machines of all kinds, you need a chemistry laboratory and you need special operating rooms,” said Markel, all of which cost much more than the gauze and broth of the past.\u003c/p>\n\u003cp>Cities started to build bigger, grander hospitals, which in turn started to absorb the smaller, old-fashioned hospitals in the surrounding towns and villages.\u003c/p>\n\u003cp>Those mergers did have some benefits for local populations. “If we form such a partnership, our patients would have more access to more modern equipment. To more advanced treatments,” Downton Abbey’s Lord Merton noted on the show.\u003c/p>\n\u003cp>Many of his real-life contemporaries agreed, making the golden age of medicine a heyday for hospital consolidation on both sides of the pond.\u003c/p>\n\u003cp>Nowadays, said Kathy McDonald, who directs the \u003ca href=\"http://healthpolicy.fsi.stanford.edu/\" target=\"_blank\">Stanford University Center for Health Policy\u003c/a>, we appear to be in another Downton-like consolidation surge here in the U.S.\u003c/p>\n\u003cp>“It’s been since about 2010 that there’s been sort of an uptick in terms of consolidations,” said McDonald. About 100 mergers and acquisitions occur each year right now, about twice as many as there were before 2010, she said.\u003c/p>\n\u003cp>But this time around, it’s not about technology — it’s about finances. Hospitals want to be part of larger networks to flex their muscles in negotiations for profitable contracts with insurers. And thanks to the Affordable Care Act, they are now often paid based on the quality and efficiency of the care they provide, rather than for each test or procedure. Actually tracking how good their quality is turns out to be very expensive. And it can be more economical to team up to manage care and track quality.\u003c/p>\n\u003cp>“They might be providing perfectly good quality, but if they can’t prove it, then they’re not going to get paid as well,” said McDonald.\u003c/p>\n\u003cp>Those mergers can have real consequences for communities, which may see a local hospital transform or even disappear entirely.\u003c/p>\n\u003cp>“Just like on Downton Abbey, the local hospital is a resource that people care about. They employ people in a community and they take care of people,” said McDonald. So the debates continue, now as then.\u003c/p>\n\u003cp>And true to form, the indomitable Dowager Countess tells us exactly what she thinks about all this so-called progress: “For years, I’ve watched governments take control of our lives and their argument is always the same: fewer costs, greater efficiency. But the result is the same too. Less control by the people, more control by the state.”\u003c/p>\n\u003cp>So whose side are the experts on in this Downton debate?\u003c/p>\n\u003cp>“Personally I love Maggie Smith and have loved her since I was a young boy, so I’m on her side as a fan,” said Markel.\u003c/p>\n\u003cp>But, he adds, the other side is probably right.\u003c/p>\n\u003cp>McDonald is also on the side of progress. But even for health care policy experts, it’s hard to argue against the Dowager Countess.\u003c/p>\n\u003cp>There are plenty of Downton fans who say the whole hospital plot line is kind of a snoozer. Maybe it’s no surprise — the wonks love it.\u003c/p>\n\u003cp>“Health care just matters to people, so even though we might not be paying attention to this plot line, we probably should,” said McDonald.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And with an audience of nearly 10 million viewers this season, there’s a good chance at least a few people are.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This season, Downton Abbey has a new plot line that has health wonks on the edge of their seats: a heated debate about hospital consolidation that closely parallels what’s going on in the U.S. health care system today.\u003c/p>\n\u003cp>If you’re not a Downton fan (and even if you are), here’s a quick plot recap.\u003c/p>\n\u003caside class=\"pullquote alignright\">'The royal Yorkshire county hospital wants to take over our little hospital, which is outrageous!'\u003ccite> Dowager Countess of Grantham \u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>It’s 1925 for the lords and ladies at \u003ca href=\"http://www.pbs.org/wgbh/masterpiece/downtonabbey/\" target=\"_blank\">Downton Abbey \u003c/a>— think flapper dresses, cocktail parties and women’s rights. A big hospital in the nearby city of York is making a play to take over the Downton Cottage Hospital next to the posh estate. Or as Maggie Smith’s character, the Dowager Countess of Grantham, sees it, “The royal Yorkshire county hospital wants to take over our little hospital, which is outrageous!”\u003c/p>\n\u003cp>The battle lines have been drawn between the Dowager Countess, who wants the hospital to stay a small community endeavor, and the rest of the family, which hopes the merger will turn the dinky open-ward affair into a first-rate modern medical institution.\u003c/p>\n\u003cp>Health care historian Howard Markel, who runs the \u003ca href=\"http://chm.med.umich.edu/\" target=\"_blank\">Center for the History of Medicine at the University of Michigan\u003c/a>, said the conceit is actually fairly accurate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The 1920s really begins the golden age of medicine,” he explained. Before then, hospitals didn’t have much to offer in the way of treatment.\u003c/p>\n\u003cp>“They were really based on old time 19th century medicine, and what that entails is basically nursing. You feed people, you make them comfortable.”\u003c/p>\n\u003cp>There weren’t many medications — no antibiotics, insulin or even intravenous fluids.\u003c/p>\n\u003cp>But in the early 20th century, all sorts of new medical technologies came onto the scene — new ways to peer into the body, new medications and pathogen-free surgeries.\u003c/p>\n\u003cp>To provide modern care, “you need X-ray machines of all kinds, you need a chemistry laboratory and you need special operating rooms,” said Markel, all of which cost much more than the gauze and broth of the past.\u003c/p>\n\u003cp>Cities started to build bigger, grander hospitals, which in turn started to absorb the smaller, old-fashioned hospitals in the surrounding towns and villages.\u003c/p>\n\u003cp>Those mergers did have some benefits for local populations. “If we form such a partnership, our patients would have more access to more modern equipment. To more advanced treatments,” Downton Abbey’s Lord Merton noted on the show.\u003c/p>\n\u003cp>Many of his real-life contemporaries agreed, making the golden age of medicine a heyday for hospital consolidation on both sides of the pond.\u003c/p>\n\u003cp>Nowadays, said Kathy McDonald, who directs the \u003ca href=\"http://healthpolicy.fsi.stanford.edu/\" target=\"_blank\">Stanford University Center for Health Policy\u003c/a>, we appear to be in another Downton-like consolidation surge here in the U.S.\u003c/p>\n\u003cp>“It’s been since about 2010 that there’s been sort of an uptick in terms of consolidations,” said McDonald. About 100 mergers and acquisitions occur each year right now, about twice as many as there were before 2010, she said.\u003c/p>\n\u003cp>But this time around, it’s not about technology — it’s about finances. Hospitals want to be part of larger networks to flex their muscles in negotiations for profitable contracts with insurers. And thanks to the Affordable Care Act, they are now often paid based on the quality and efficiency of the care they provide, rather than for each test or procedure. Actually tracking how good their quality is turns out to be very expensive. And it can be more economical to team up to manage care and track quality.\u003c/p>\n\u003cp>“They might be providing perfectly good quality, but if they can’t prove it, then they’re not going to get paid as well,” said McDonald.\u003c/p>\n\u003cp>Those mergers can have real consequences for communities, which may see a local hospital transform or even disappear entirely.\u003c/p>\n\u003cp>“Just like on Downton Abbey, the local hospital is a resource that people care about. They employ people in a community and they take care of people,” said McDonald. So the debates continue, now as then.\u003c/p>\n\u003cp>And true to form, the indomitable Dowager Countess tells us exactly what she thinks about all this so-called progress: “For years, I’ve watched governments take control of our lives and their argument is always the same: fewer costs, greater efficiency. But the result is the same too. Less control by the people, more control by the state.”\u003c/p>\n\u003cp>So whose side are the experts on in this Downton debate?\u003c/p>\n\u003cp>“Personally I love Maggie Smith and have loved her since I was a young boy, so I’m on her side as a fan,” said Markel.\u003c/p>\n\u003cp>But, he adds, the other side is probably right.\u003c/p>\n\u003cp>McDonald is also on the side of progress. But even for health care policy experts, it’s hard to argue against the Dowager Countess.\u003c/p>\n\u003cp>There are plenty of Downton fans who say the whole hospital plot line is kind of a snoozer. Maybe it’s no surprise — the wonks love it.\u003c/p>\n\u003cp>“Health care just matters to people, so even though we might not be paying attention to this plot line, we probably should,” said McDonald.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And with an audience of nearly 10 million viewers this season, there’s a good chance at least a few people are.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Harper Lee, the elusive novelist whose child’s-eye view of racial injustice in a small Southern town, \u003cem>To Kill a Mockingbird\u003c/em>, became standard reading for millions of young people and an Oscar-winning film, has died. She was 89.\u003c/p>\n\u003cp>Lee died peacefully Friday, publisher HarperCollins said in a statement. It did not give any other details about how she died.\u003c/p>\n\u003cp>“The world knows Harper Lee was a brilliant writer but what many don’t know is that she was an extraordinary woman of great joyfulness, humility and kindness. She lived her life the way she wanted to — in private — surrounded by books and the people who loved her,” Michael Morrison, head of HarperCollins U.S. general books group, said in the statement.\u003c/p>\n\u003cp>For most of her life, Lee divided her time between New York City, where she wrote the novel in the 1950s, and her hometown of Monroeville, which inspired the book’s fictional Maycomb.\u003c/p>\n\u003cp>\u003cem>To Kill a Mockingbird\u003c/em>, published in 1960, is the story of a girl nicknamed Scout growing up in a Depression-era Southern town. A black man has been wrongly accused of raping a white woman, and Scout’s father, the resolute lawyer Atticus Finch, defends him despite threats and the scorn of many.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book quickly became a best-seller, won the Pulitzer Prize and was made into a memorable movie in 1962, with Gregory Peck winning an Oscar for his portrayal of Atticus. As the civil rights movement grew, the novel inspired a generation of young lawyers, was assigned in high schools all over the country and was a popular choice for citywide, or nationwide, reading programs.\u003c/p>\n\u003cp>By 2015, its sales were reported by HarperCollins to be more than 40 million worldwide, making it one of the most widely read American novels of the 20th century. When the Library of Congress did a survey in 1991 on books that have affected people’s lives, \u003cem>To Kill a Mockingbird\u003c/em> was second only to the Bible.\u003c/p>\n\u003cp>Lee herself became more mysterious as her book became more famous. At first, she dutifully promoted her work. She spoke frequently to the press, wrote about herself and gave speeches, once to a class of cadets at West Point.\u003c/p>\n\u003cp>But she began declining interviews in the late 1960s and, until late in her life, firmly avoided making any public comment at all about her novel or her career. Other than a few magazine pieces for Vogue and McCall’s in the 1960s and a review of a 19th-century Alabama history book in 1983, she published no other book until stunning the world in 2015 by permitting \u003cem>Go Set a Watchman\u003c/em> to be released.\u003c/p>\n\u003cp>“Watchman” was written before “Mockingbird” but was set 20 years later, using the same location and many of the same characters. Readers and reviewers were disheartened to find an Atticus who seemed nothing like the hero of the earlier book. The man who defied the status quo in “Mockingbird” was now part of the mob in “Watchman,” denouncing the Supreme Court’s ruling that school segregation was unconstitutional and denouncing blacks as unfit to enjoy full equality.\u003c/p>\n\u003cp>But despite unenthusiastic reviews and questions whether Lee was well enough to approve the publication, “Watchman” jumped to the top of best-seller lists within a day of its announcement and remained there for months.\u003c/p>\n\u003cp>Much of Lee’s story is the story of “Mockingbird,” and how she responded to it. She wasn’t a bragger, like Norman Mailer, or a drinker, like William Faulkner, or a recluse or eccentric. By the accounts of friends and Monroeville townsfolk, she was a warm, vibrant and witty woman who enjoyed life, played golf, read voraciously and got about to plays and concerts. She just didn’t want to talk about it before an audience.\u003c/p>\n\u003cp>Claudia Durst Johnson, author of a book-length critical analysis of Lee’s novel, described her as preferring to guard her privacy “like others in an older generation, who didn’t go out and talk about themselves on Oprah or the Letterman show at the drop of a hat.” According to Johnson, Lee also complained that the news media invariably misquoted her.\u003c/p>\n\u003cp>Lee emerged more often over the past few years, although not always in ways she preferred. She was involved in numerous legal disputes over the rights to her book and denied she had cooperated with the biography “The Mockingbird Next Door: Life With Harper Lee,” by Marja Mills.\u003c/p>\n\u003cp>Other occasions were happier. She wrote a letter of thanks in 2001 when the Chicago Public Library chose “Mockingbird” for its first One Book, One Chicago program. In 2007, she agreed to attend a White House ceremony at which she received a Presidential Medal of Freedom. Around the same time, she wrote a rare published item — for O, The Oprah Magazine — about how she became a reader as a child in a rural, Depression-era Alabama town, and remained one.\u003c/p>\n\u003cp>“Now, 75 years later in an abundant society where people have laptops, cellphones, iPods, and minds like empty rooms, I still plod along with books,” she wrote.\u003c/p>\n\u003cp>By 2014, she had given in to the digital age and allowed her novel to come out as an e-book, calling it “‘Mockingbird’ for a new generation.”\u003c/p>\n\u003cp>A new play adaptation of “To Kill a Mockingbird” will land on Broadway during the 2017-18 season under the direction of Tony Award winner Bartlett Sher, written by Oscar-winner written by Aaron Sorkin.\u003c/p>\n\u003cp>Born in Monroeville, Alabama, Nelle Harper Lee was known to family and friends as Nelle (pronounced Nell) — the name of a relative, Ellen, spelled backward. Like Atticus Finch, her father was a lawyer and state legislator. One of her childhood friends was Truman Capote, who lived with relatives next door to the Lees for several years. (A book about Lee in 2006 and two films about Capote brought fresh attention to their friendship, including her contributions to Capote’s \u003cem>In Cold Blood\u003c/em>, the classic “nonfiction novel” about the murder of a Kansas farm family.\u003c/p>\n\u003cp>Capote became the model for Scout’s creative, impish and loving friend Dill. In the novel, Dill is described as “a pocket Merlin, whose head teemed with eccentric plans, strange longings, and quaint fancies.”\u003c/p>\n\u003cp>Lee’s friendship with Capote was evident later when she traveled frequently with him to Kansas, beginning in 1959, to help him do research for what became his own best-seller, “In Cold Blood.” He dedicated the book to her and his longtime companion, Jack Dunphy, but never acknowledged how vital a role she played in its creation.\u003c/p>\n\u003cp>Charles J. Shields, in the first book-length attempt at a biography of Lee, “Mockingbird: A Portrait of Harper Lee,” showed how Lee helped Capote gain entrance to key figures in the murder investigation and provided keen observations and myriad notes that Capote wove into his book. (He also debunked a long-standing rumor that Capote had actually written much of “Mockingbird.”)\u003c/p>\n\u003cp>In the 2005 film \u003cem>Capote\u003c/em>, Philip Seymour Hoffman won the best actor Academy Award for his portrayal of Capote struggling with his demons as he works on the book. Catherine Keener was nominated for an Oscar for her portrayal of Lee. The next year, Sandra Bullock took the role of Lee in \u003cem>Infamous\u003c/em>, with Toby Jones as Capote.\u003c/p>\n\u003cp>Lee said in the 1960s that she was working on a second novel, but over time it dropped from view and never reached a publisher.\u003c/p>\n\u003cp>Lee researched another book, a non-fiction account of a bizarre murder case in rural east Alabama, but abandoned the project in the 1980s.\u003c/p>\n\u003cp>Lee, who attended Huntingdon College in Montgomery as a freshman, transferred the next year to the University of Alabama, where she wrote and became editor of the campus literary magazine. After studying to be a lawyer like her father and older sister, Lee left the university before graduating, heading to New York to become a writer, as Capote already had done.\u003c/p>\n\u003cp>Lee worked as an airlines reservation clerk in New York City during the early 1950s, writing on the side. Finally, with a Christmas loan from friends, she quit to write full time, and the first draft of “To Kill a Mockingbird” reached its publisher, J.B. Lippincott, in 1957.\u003c/p>\n\u003cp>The manuscript, according to the publishing house, arrived under the title “Atticus.” The title later became \u003cem>To Kill a Mockingbird\u003c/em>, referring to an old saying that it was all right to kill a blue jay but a sin to kill a mockingbird, which gives the world its music.\u003c/p>\n\u003cp>Lee worked with the editor Tay Hohoff in bringing the book to its final form, a period when Lee was scrimping financially and dealing with the difficulties of rewriting.\u003c/p>\n\u003cp>“Though Miss Lee then had never published even an essay or a short story, this was clearly not the work of an amateur or tyro,” the editor wrote in an account published by Lippincott in 1967. “… She had learned the essential part of her craft, with no so-called professional help, simply by working at it and working at it, endlessly.”\u003c/p>\n\u003cp>Capote, in a letter to an aunt in July 1959, said that a year earlier Lee “showed me as much of the book as she’d written, and I liked it very much. She has real talent.”\u003c/p>\n\u003cp>Her novel, while hugely popular, was not ranked by many scholars in the same category as the work of other Southern authors such as Eudora Welty or Flannery O’Connor. Decades after its publication, little was written about it in scholarly journals. Some critics have called the book naive and sentimental, whether dismissing the Ku Klux Klan as a minor nuisance in Maycomb or advocating change through personal persuasion rather than collective action. The novel was also considered patronizing for highlighting the bravery of a white man on behalf of blacks.\u003c/p>\n\u003cp>O’Connor, in an October 1960 letter, said, “I think I see what it really is — a child’s book. … I think for a child’s book, it does all right.”\u003c/p>\n\u003cp>Parallels were drawn between Lee and Margaret Mitchell, another Southern woman whose only novel, “Gone With the Wind,” became a phenomenon and was made into a beloved movie. But Mitchell’s book romanticized the black-white divide; Lee’s work confronted it, although more gently than novels before and since.\u003c/p>\n\u003cp>Lee’s book features Scout’s often meandering recollection of the people — some eccentric, such as the reclusive Boo Radley — in rural Maycomb County, during the years when her brother Jem reaches adolescence and she enters school. Some critics said it relied at times on stereotypes, such as the mean, trashy whites making false charges against a virtuous black. But the tomboy Scout and the quietly courageous Atticus Finch drew praise as memorable, singular creations.\u003c/p>\n\u003cp>The book’s tension is built around the lynching atmosphere in Maycomb as the black man goes on trial, a scenario reminiscent of the Scottsboro Boys rape case of the same period. Scout, Dill and Jem, whose playful curiosity takes scary turns, witness the drama of an adult world with its own frightening lessons.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Surely it is plain to the simplest intelligence that ‘To Kill a Mockingbird’ spells out in words of seldom more than two syllables a code of honor and conduct,” Lee wrote to an editor in the 1960s. “Christian in its ethic, that is the heritage of all Southerners.”\u003c/p>\n\n",
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"title": "Harper Lee, 'To Kill a Mockingbird' Author, Dead at 89 | KQED",
"description": "Harper Lee, the elusive novelist whose child's-eye view of racial injustice in a small Southern town, To Kill a Mockingbird, became standard reading for millions of young people and an Oscar-winning film, has died. She was 89. Lee died peacefully Friday, publisher HarperCollins said in a statement. It did not give any other details about how she died. "The world knows Harper Lee was a brilliant writer but what many don't know is that she was an extraordinary woman of great joyfulness, humility and kindness. She lived her life the way she wanted to — in private — surrounded by",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harper Lee, the elusive novelist whose child’s-eye view of racial injustice in a small Southern town, \u003cem>To Kill a Mockingbird\u003c/em>, became standard reading for millions of young people and an Oscar-winning film, has died. She was 89.\u003c/p>\n\u003cp>Lee died peacefully Friday, publisher HarperCollins said in a statement. It did not give any other details about how she died.\u003c/p>\n\u003cp>“The world knows Harper Lee was a brilliant writer but what many don’t know is that she was an extraordinary woman of great joyfulness, humility and kindness. She lived her life the way she wanted to — in private — surrounded by books and the people who loved her,” Michael Morrison, head of HarperCollins U.S. general books group, said in the statement.\u003c/p>\n\u003cp>For most of her life, Lee divided her time between New York City, where she wrote the novel in the 1950s, and her hometown of Monroeville, which inspired the book’s fictional Maycomb.\u003c/p>\n\u003cp>\u003cem>To Kill a Mockingbird\u003c/em>, published in 1960, is the story of a girl nicknamed Scout growing up in a Depression-era Southern town. A black man has been wrongly accused of raping a white woman, and Scout’s father, the resolute lawyer Atticus Finch, defends him despite threats and the scorn of many.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book quickly became a best-seller, won the Pulitzer Prize and was made into a memorable movie in 1962, with Gregory Peck winning an Oscar for his portrayal of Atticus. As the civil rights movement grew, the novel inspired a generation of young lawyers, was assigned in high schools all over the country and was a popular choice for citywide, or nationwide, reading programs.\u003c/p>\n\u003cp>By 2015, its sales were reported by HarperCollins to be more than 40 million worldwide, making it one of the most widely read American novels of the 20th century. When the Library of Congress did a survey in 1991 on books that have affected people’s lives, \u003cem>To Kill a Mockingbird\u003c/em> was second only to the Bible.\u003c/p>\n\u003cp>Lee herself became more mysterious as her book became more famous. At first, she dutifully promoted her work. She spoke frequently to the press, wrote about herself and gave speeches, once to a class of cadets at West Point.\u003c/p>\n\u003cp>But she began declining interviews in the late 1960s and, until late in her life, firmly avoided making any public comment at all about her novel or her career. Other than a few magazine pieces for Vogue and McCall’s in the 1960s and a review of a 19th-century Alabama history book in 1983, she published no other book until stunning the world in 2015 by permitting \u003cem>Go Set a Watchman\u003c/em> to be released.\u003c/p>\n\u003cp>“Watchman” was written before “Mockingbird” but was set 20 years later, using the same location and many of the same characters. Readers and reviewers were disheartened to find an Atticus who seemed nothing like the hero of the earlier book. The man who defied the status quo in “Mockingbird” was now part of the mob in “Watchman,” denouncing the Supreme Court’s ruling that school segregation was unconstitutional and denouncing blacks as unfit to enjoy full equality.\u003c/p>\n\u003cp>But despite unenthusiastic reviews and questions whether Lee was well enough to approve the publication, “Watchman” jumped to the top of best-seller lists within a day of its announcement and remained there for months.\u003c/p>\n\u003cp>Much of Lee’s story is the story of “Mockingbird,” and how she responded to it. She wasn’t a bragger, like Norman Mailer, or a drinker, like William Faulkner, or a recluse or eccentric. By the accounts of friends and Monroeville townsfolk, she was a warm, vibrant and witty woman who enjoyed life, played golf, read voraciously and got about to plays and concerts. She just didn’t want to talk about it before an audience.\u003c/p>\n\u003cp>Claudia Durst Johnson, author of a book-length critical analysis of Lee’s novel, described her as preferring to guard her privacy “like others in an older generation, who didn’t go out and talk about themselves on Oprah or the Letterman show at the drop of a hat.” According to Johnson, Lee also complained that the news media invariably misquoted her.\u003c/p>\n\u003cp>Lee emerged more often over the past few years, although not always in ways she preferred. She was involved in numerous legal disputes over the rights to her book and denied she had cooperated with the biography “The Mockingbird Next Door: Life With Harper Lee,” by Marja Mills.\u003c/p>\n\u003cp>Other occasions were happier. She wrote a letter of thanks in 2001 when the Chicago Public Library chose “Mockingbird” for its first One Book, One Chicago program. In 2007, she agreed to attend a White House ceremony at which she received a Presidential Medal of Freedom. Around the same time, she wrote a rare published item — for O, The Oprah Magazine — about how she became a reader as a child in a rural, Depression-era Alabama town, and remained one.\u003c/p>\n\u003cp>“Now, 75 years later in an abundant society where people have laptops, cellphones, iPods, and minds like empty rooms, I still plod along with books,” she wrote.\u003c/p>\n\u003cp>By 2014, she had given in to the digital age and allowed her novel to come out as an e-book, calling it “‘Mockingbird’ for a new generation.”\u003c/p>\n\u003cp>A new play adaptation of “To Kill a Mockingbird” will land on Broadway during the 2017-18 season under the direction of Tony Award winner Bartlett Sher, written by Oscar-winner written by Aaron Sorkin.\u003c/p>\n\u003cp>Born in Monroeville, Alabama, Nelle Harper Lee was known to family and friends as Nelle (pronounced Nell) — the name of a relative, Ellen, spelled backward. Like Atticus Finch, her father was a lawyer and state legislator. One of her childhood friends was Truman Capote, who lived with relatives next door to the Lees for several years. (A book about Lee in 2006 and two films about Capote brought fresh attention to their friendship, including her contributions to Capote’s \u003cem>In Cold Blood\u003c/em>, the classic “nonfiction novel” about the murder of a Kansas farm family.\u003c/p>\n\u003cp>Capote became the model for Scout’s creative, impish and loving friend Dill. In the novel, Dill is described as “a pocket Merlin, whose head teemed with eccentric plans, strange longings, and quaint fancies.”\u003c/p>\n\u003cp>Lee’s friendship with Capote was evident later when she traveled frequently with him to Kansas, beginning in 1959, to help him do research for what became his own best-seller, “In Cold Blood.” He dedicated the book to her and his longtime companion, Jack Dunphy, but never acknowledged how vital a role she played in its creation.\u003c/p>\n\u003cp>Charles J. Shields, in the first book-length attempt at a biography of Lee, “Mockingbird: A Portrait of Harper Lee,” showed how Lee helped Capote gain entrance to key figures in the murder investigation and provided keen observations and myriad notes that Capote wove into his book. (He also debunked a long-standing rumor that Capote had actually written much of “Mockingbird.”)\u003c/p>\n\u003cp>In the 2005 film \u003cem>Capote\u003c/em>, Philip Seymour Hoffman won the best actor Academy Award for his portrayal of Capote struggling with his demons as he works on the book. Catherine Keener was nominated for an Oscar for her portrayal of Lee. The next year, Sandra Bullock took the role of Lee in \u003cem>Infamous\u003c/em>, with Toby Jones as Capote.\u003c/p>\n\u003cp>Lee said in the 1960s that she was working on a second novel, but over time it dropped from view and never reached a publisher.\u003c/p>\n\u003cp>Lee researched another book, a non-fiction account of a bizarre murder case in rural east Alabama, but abandoned the project in the 1980s.\u003c/p>\n\u003cp>Lee, who attended Huntingdon College in Montgomery as a freshman, transferred the next year to the University of Alabama, where she wrote and became editor of the campus literary magazine. After studying to be a lawyer like her father and older sister, Lee left the university before graduating, heading to New York to become a writer, as Capote already had done.\u003c/p>\n\u003cp>Lee worked as an airlines reservation clerk in New York City during the early 1950s, writing on the side. Finally, with a Christmas loan from friends, she quit to write full time, and the first draft of “To Kill a Mockingbird” reached its publisher, J.B. Lippincott, in 1957.\u003c/p>\n\u003cp>The manuscript, according to the publishing house, arrived under the title “Atticus.” The title later became \u003cem>To Kill a Mockingbird\u003c/em>, referring to an old saying that it was all right to kill a blue jay but a sin to kill a mockingbird, which gives the world its music.\u003c/p>\n\u003cp>Lee worked with the editor Tay Hohoff in bringing the book to its final form, a period when Lee was scrimping financially and dealing with the difficulties of rewriting.\u003c/p>\n\u003cp>“Though Miss Lee then had never published even an essay or a short story, this was clearly not the work of an amateur or tyro,” the editor wrote in an account published by Lippincott in 1967. “… She had learned the essential part of her craft, with no so-called professional help, simply by working at it and working at it, endlessly.”\u003c/p>\n\u003cp>Capote, in a letter to an aunt in July 1959, said that a year earlier Lee “showed me as much of the book as she’d written, and I liked it very much. She has real talent.”\u003c/p>\n\u003cp>Her novel, while hugely popular, was not ranked by many scholars in the same category as the work of other Southern authors such as Eudora Welty or Flannery O’Connor. Decades after its publication, little was written about it in scholarly journals. Some critics have called the book naive and sentimental, whether dismissing the Ku Klux Klan as a minor nuisance in Maycomb or advocating change through personal persuasion rather than collective action. The novel was also considered patronizing for highlighting the bravery of a white man on behalf of blacks.\u003c/p>\n\u003cp>O’Connor, in an October 1960 letter, said, “I think I see what it really is — a child’s book. … I think for a child’s book, it does all right.”\u003c/p>\n\u003cp>Parallels were drawn between Lee and Margaret Mitchell, another Southern woman whose only novel, “Gone With the Wind,” became a phenomenon and was made into a beloved movie. But Mitchell’s book romanticized the black-white divide; Lee’s work confronted it, although more gently than novels before and since.\u003c/p>\n\u003cp>Lee’s book features Scout’s often meandering recollection of the people — some eccentric, such as the reclusive Boo Radley — in rural Maycomb County, during the years when her brother Jem reaches adolescence and she enters school. Some critics said it relied at times on stereotypes, such as the mean, trashy whites making false charges against a virtuous black. But the tomboy Scout and the quietly courageous Atticus Finch drew praise as memorable, singular creations.\u003c/p>\n\u003cp>The book’s tension is built around the lynching atmosphere in Maycomb as the black man goes on trial, a scenario reminiscent of the Scottsboro Boys rape case of the same period. Scout, Dill and Jem, whose playful curiosity takes scary turns, witness the drama of an adult world with its own frightening lessons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Surely it is plain to the simplest intelligence that ‘To Kill a Mockingbird’ spells out in words of seldom more than two syllables a code of honor and conduct,” Lee wrote to an editor in the 1960s. “Christian in its ethic, that is the heritage of all Southerners.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Acid Flashback: Santa Cruz Bird Frenzy, Hitchcock and a Biological Whodunit",
"title": "Acid Flashback: Santa Cruz Bird Frenzy, Hitchcock and a Biological Whodunit",
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"content": "\u003cp>Long before \u003ca href=\"http://www.nwfsc.noaa.gov/hab/habs_toxins/marine_biotoxins/da/\" target=\"_blank\">domoic acid\u003c/a> ruined Northern California's \u003ca href=\"http://ww2.kqed.org/science/2015/11/05/why-is-an-algae-bloom-closing-crab-season-in-california/\" target=\"_blank\">2015-16 Dungeness crab season\u003c/a>, it was responsible for a panic along the Santa Cruz County seashore, which in turn informed a classic piece of creepy California cinema.\u003c/p>\n\u003cp>Flashback to August 1961: In Germany, an enduring symbol of the Cold War -- \u003ca href=\"http://www.bbc.co.uk/history/places/berlin_wall\" target=\"_blank\">the Berlin Wall\u003c/a> -- is under construction. Barack Obama is born in Honolulu. No one but a handful of Japanese researchers has ever heard of domoic acid. And in beachside communities near Santa Cruz, birds are going nuts.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/249102907\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The Great Bird Frenzy took place early the morning of Friday, Aug. 18, 1961. Here's how longtime \u003ca href=\"http://www.santacruzsentinel.com/article/zz/20120115/NEWS/120117661\" target=\"_blank\">Santa Cruz Sentinel reporter and columnist Wally Trabing\u003c/a> described the scene that unfolded along the shoreline just east of Santa Cruz:\u003c/p>\n\u003cblockquote>\u003cp>A massive flight of \u003ca href=\"http://currents.ucsc.edu/06-07/08-14/shearwaters.asp\" target=\"_blank\">sooty shearwaters\u003c/a>, fresh from a feast of anchovies, collided with shoreside structures from Pleasure Point to Rio del Mar during the night.\u003c/p>\n\u003cp>Residents, especially in the Pleasure Point and Capitola area, were awakened about 3 a.m. today by the rain of birds slamming against their homes.\u003c/p>\n\u003cp>Dead and stunned seabirds littered the streets and roads in the foggy, early dawn. Startled by the invasion, residents rushed out on their lawns with flashlights, then rushed back inside, as the birds flew toward their light.\u003c/p>\n\u003cp>Television aerial supports were severed, and one power line was shorted out about 4 a.m. on Merrill Avenue when the birds hitting the lines slapped them together.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_10871218\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/hitchcockbirds.jpg\" rel=\"attachment wp-att-10871218\">\u003cimg class=\"size-thumbnail wp-image-10871218\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/hitchcockbirds-400x1042.jpg\" alt=\"Item from the Aug. 21, 1961, edition of the Santa Cruz Sentinel reporting Alfred Hitchcock's interest in the local bird 'invasion.'\" width=\"300\" height=\"781\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/hitchcockbirds-400x1042.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/hitchcockbirds.jpg 546w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Item from the Aug. 21, 1961, edition of the Santa Cruz Sentinel reporting Alfred Hitchcock's interest in the local bird 'invasion.' \u003ccite>(Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the following days, the Sentinel reported crews picking up truckloads of dead birds from streets and lawns in the area. For an explanation of the avian behavior, the paper turned to \u003ca href=\"http://www.oac.cdlib.org/findaid/ark:/13030/c84b332g/\" target=\"_blank\">Ward Russell\u003c/a>, a specimen collector and preparator at UC Berkeley's Museum of Vertebrate Zoology. (Russell's \u003ca href=\"http://blogrr.blogspot.com/2009/06/meet-beetles.html\" target=\"_blank\">claim to fame\u003c/a>, it appears, is that he promoted the use of \u003ca href=\"http://voices.nationalgeographic.com/2013/01/17/flesh-eating-beetles-explained/\" target=\"_blank\">flesh-eating beetles\u003c/a> -- or dermestid beetles -- to clean skeletons.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Russell opined that the sooty shearwaters, which fly tens of thousands of miles around the Pacific basin each year, became confused by a thick fog and flapped in a blind panic toward lights onshore. Others thought the sound of gunfire from the Army's Fort Ord might have spooked the birds.\u003c/p>\n\u003cp>One of those who took note of the sooty shearwater episode was movie director Alfred Hitchcock, who owned \u003ca href=\"http://www.santacruzpl.org/history/articles/299/\" target=\"_blank\">a 200-acre estate\u003c/a> at the end of a narrow, winding road in the Santa Cruz Mountains. Three days after the invasion, the Sentinel buried an item on page 4: Hitchcock had read the paper's account of the invasion and planned to use it in his adaptation of the Daphne Du Maurier \u003ca href=\"https://northviewulrich.files.wordpress.com/2014/11/the-birds-full-text.pdf\" target=\"_blank\">short story\u003c/a> \"The Birds.\"\u003c/p>\n\u003cp>And in fact, the Santa Cruz incident and Ward Russell's theory both made it into Hitchcock's \u003ca href=\"http://the.hitchcock.zone/wiki/Scripts:_The_Birds_(final_draft,_2nd_rev,_02/Mar/1962)\" target=\"_blank\">final script\u003c/a>, set in Bodega Bay. In the film version of \"The Birds,\" Mitch Brenner, the character played by Rod Taylor, is trying to think of a way to drive away flocks of crows and gulls that have begun terrorizing the locals. Brenner has the following exchange with several other characters and a bird sympathizer identified only as Mrs. Bundy:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Mitch:\u003c/strong> Mrs. Bundy, you said something about Santa Cruz. About seagulls getting lost in the fog, and heading in for the lights.\u003c/p>\n\u003cp>\u003cstrong>Deke:\u003c/strong> We don't have any fog this time of year, Mitch.\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> We'll make our own fog.\u003c/p>\n\u003cp>\u003cstrong>Sholes:\u003c/strong> How do you plan to do that?\u003c/p>\n\u003cp>\u003cstrong>Mitch\u003c/strong>: With smoke.\u003c/p>\n\u003cp>\u003cstrong>Malone:\u003c/strong> There's an ordinance against burning anything in this town, unless it's...\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> We'll use smoke pots. Like the Army uses.\u003c/p>\n\u003cp>\u003cstrong>Deke:\u003c/strong> What good'll that do? Smoke's as bad as birds.\u003c/p>\n\u003cp>\u003cstrong>Mrs. Bundy:\u003c/strong> Birds are not bad!\u003c/p>\n\u003cp>\u003cstrong>Sholes:\u003c/strong> How can we go on living here if we blanket the town with smoke?\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> Can we go on living here otherwise?\u003c/p>\u003c/blockquote>\n\u003cp>For decades, there was no better explanation for the the 1961 Santa Cruz bird mystery than they'd gotten lost in the fog.\u003c/p>\n\u003cp>But in 1991, a clue appeared. Hundreds of brown pelicans and cormorants were found sick or dead along the Monterey Bay shoreline. \u003ca href=\"http://www.jstor.org/stable/20460314?seq=1#page_scan_tab_contents\" target=\"_blank\">Veterinary researchers\u003c/a> eliminated viruses, bacteria or heavy-metal poisoning as the cause, then determined the birds had suffered acute poisoning by domoic acid. The toxin was found both in anchovies the birds had fed on and in plankton the fish had consumed.\u003c/p>\n\u003cp>UC Santa Cruz marine biologist David Garrison studied the 1991 incident and speculated several years later that domoic acid might have been responsible for the 1961 bird invasion. It wasn't until 2012, more than half a century after the episode, that researchers from UC San Diego's Scripps Institution of Oceanography found direct evidence that the sooty shearwaters had indeed suffered domoic acid poisoning.\u003c/p>\n\u003cp>The Scripps scientists used an archive of biological samples from California Cooperative Oceanic Fisheries Investigations, a marine monitoring program in operation since 1949, to try to investigate the conditions the birds would have encountered in Monterey Bay in the summer of 1961. Specifically, the team was looking for samples that might show the presence of Pseudo-nitzschia, a genus of diatoms that includes species known to produce domoic acid.\u003c/p>\n\u003cp>In a summary of the research published in Nature Geoscience, the Scripps oceanographers reported that Monterey Bay zooplankton collected in 1961 showed high levels of the toxin-producing diatoms. Here's the mildly worded conclusion to the Scripps team's findings:\u003c/p>\n\u003cblockquote>\u003cp>Given the similarities between events in 1961 and the domoic acid-induced poisoning of 1991, we suggest that toxic Pseudo-nitzschia were probably responsible for the odd behaviour and death of Sooty shearwaters in August 1961. This brief study therefore supports the contention that domoic acid caused the seabird frenzy ... and strongly suggests that domoic-acid-producing phytoplankton have been an agent of marine animal mortality in the California Current system for at least the past fifty years.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>OK -- maybe not quite \u003ca href=\"http://www.metv.com/shows/perry-mason\" target=\"_blank\">Perry Mason\u003c/a> stuff. But case closed.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before \u003ca href=\"http://www.nwfsc.noaa.gov/hab/habs_toxins/marine_biotoxins/da/\" target=\"_blank\">domoic acid\u003c/a> ruined Northern California's \u003ca href=\"http://ww2.kqed.org/science/2015/11/05/why-is-an-algae-bloom-closing-crab-season-in-california/\" target=\"_blank\">2015-16 Dungeness crab season\u003c/a>, it was responsible for a panic along the Santa Cruz County seashore, which in turn informed a classic piece of creepy California cinema.\u003c/p>\n\u003cp>Flashback to August 1961: In Germany, an enduring symbol of the Cold War -- \u003ca href=\"http://www.bbc.co.uk/history/places/berlin_wall\" target=\"_blank\">the Berlin Wall\u003c/a> -- is under construction. Barack Obama is born in Honolulu. No one but a handful of Japanese researchers has ever heard of domoic acid. And in beachside communities near Santa Cruz, birds are going nuts.\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/249102907&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/249102907'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Great Bird Frenzy took place early the morning of Friday, Aug. 18, 1961. Here's how longtime \u003ca href=\"http://www.santacruzsentinel.com/article/zz/20120115/NEWS/120117661\" target=\"_blank\">Santa Cruz Sentinel reporter and columnist Wally Trabing\u003c/a> described the scene that unfolded along the shoreline just east of Santa Cruz:\u003c/p>\n\u003cblockquote>\u003cp>A massive flight of \u003ca href=\"http://currents.ucsc.edu/06-07/08-14/shearwaters.asp\" target=\"_blank\">sooty shearwaters\u003c/a>, fresh from a feast of anchovies, collided with shoreside structures from Pleasure Point to Rio del Mar during the night.\u003c/p>\n\u003cp>Residents, especially in the Pleasure Point and Capitola area, were awakened about 3 a.m. today by the rain of birds slamming against their homes.\u003c/p>\n\u003cp>Dead and stunned seabirds littered the streets and roads in the foggy, early dawn. Startled by the invasion, residents rushed out on their lawns with flashlights, then rushed back inside, as the birds flew toward their light.\u003c/p>\n\u003cp>Television aerial supports were severed, and one power line was shorted out about 4 a.m. on Merrill Avenue when the birds hitting the lines slapped them together.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_10871218\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/hitchcockbirds.jpg\" rel=\"attachment wp-att-10871218\">\u003cimg class=\"size-thumbnail wp-image-10871218\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/hitchcockbirds-400x1042.jpg\" alt=\"Item from the Aug. 21, 1961, edition of the Santa Cruz Sentinel reporting Alfred Hitchcock's interest in the local bird 'invasion.'\" width=\"300\" height=\"781\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/hitchcockbirds-400x1042.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/hitchcockbirds.jpg 546w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Item from the Aug. 21, 1961, edition of the Santa Cruz Sentinel reporting Alfred Hitchcock's interest in the local bird 'invasion.' \u003ccite>(Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the following days, the Sentinel reported crews picking up truckloads of dead birds from streets and lawns in the area. For an explanation of the avian behavior, the paper turned to \u003ca href=\"http://www.oac.cdlib.org/findaid/ark:/13030/c84b332g/\" target=\"_blank\">Ward Russell\u003c/a>, a specimen collector and preparator at UC Berkeley's Museum of Vertebrate Zoology. (Russell's \u003ca href=\"http://blogrr.blogspot.com/2009/06/meet-beetles.html\" target=\"_blank\">claim to fame\u003c/a>, it appears, is that he promoted the use of \u003ca href=\"http://voices.nationalgeographic.com/2013/01/17/flesh-eating-beetles-explained/\" target=\"_blank\">flesh-eating beetles\u003c/a> -- or dermestid beetles -- to clean skeletons.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Russell opined that the sooty shearwaters, which fly tens of thousands of miles around the Pacific basin each year, became confused by a thick fog and flapped in a blind panic toward lights onshore. Others thought the sound of gunfire from the Army's Fort Ord might have spooked the birds.\u003c/p>\n\u003cp>One of those who took note of the sooty shearwater episode was movie director Alfred Hitchcock, who owned \u003ca href=\"http://www.santacruzpl.org/history/articles/299/\" target=\"_blank\">a 200-acre estate\u003c/a> at the end of a narrow, winding road in the Santa Cruz Mountains. Three days after the invasion, the Sentinel buried an item on page 4: Hitchcock had read the paper's account of the invasion and planned to use it in his adaptation of the Daphne Du Maurier \u003ca href=\"https://northviewulrich.files.wordpress.com/2014/11/the-birds-full-text.pdf\" target=\"_blank\">short story\u003c/a> \"The Birds.\"\u003c/p>\n\u003cp>And in fact, the Santa Cruz incident and Ward Russell's theory both made it into Hitchcock's \u003ca href=\"http://the.hitchcock.zone/wiki/Scripts:_The_Birds_(final_draft,_2nd_rev,_02/Mar/1962)\" target=\"_blank\">final script\u003c/a>, set in Bodega Bay. In the film version of \"The Birds,\" Mitch Brenner, the character played by Rod Taylor, is trying to think of a way to drive away flocks of crows and gulls that have begun terrorizing the locals. Brenner has the following exchange with several other characters and a bird sympathizer identified only as Mrs. Bundy:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Mitch:\u003c/strong> Mrs. Bundy, you said something about Santa Cruz. About seagulls getting lost in the fog, and heading in for the lights.\u003c/p>\n\u003cp>\u003cstrong>Deke:\u003c/strong> We don't have any fog this time of year, Mitch.\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> We'll make our own fog.\u003c/p>\n\u003cp>\u003cstrong>Sholes:\u003c/strong> How do you plan to do that?\u003c/p>\n\u003cp>\u003cstrong>Mitch\u003c/strong>: With smoke.\u003c/p>\n\u003cp>\u003cstrong>Malone:\u003c/strong> There's an ordinance against burning anything in this town, unless it's...\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> We'll use smoke pots. Like the Army uses.\u003c/p>\n\u003cp>\u003cstrong>Deke:\u003c/strong> What good'll that do? Smoke's as bad as birds.\u003c/p>\n\u003cp>\u003cstrong>Mrs. Bundy:\u003c/strong> Birds are not bad!\u003c/p>\n\u003cp>\u003cstrong>Sholes:\u003c/strong> How can we go on living here if we blanket the town with smoke?\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> Can we go on living here otherwise?\u003c/p>\u003c/blockquote>\n\u003cp>For decades, there was no better explanation for the the 1961 Santa Cruz bird mystery than they'd gotten lost in the fog.\u003c/p>\n\u003cp>But in 1991, a clue appeared. Hundreds of brown pelicans and cormorants were found sick or dead along the Monterey Bay shoreline. \u003ca href=\"http://www.jstor.org/stable/20460314?seq=1#page_scan_tab_contents\" target=\"_blank\">Veterinary researchers\u003c/a> eliminated viruses, bacteria or heavy-metal poisoning as the cause, then determined the birds had suffered acute poisoning by domoic acid. The toxin was found both in anchovies the birds had fed on and in plankton the fish had consumed.\u003c/p>\n\u003cp>UC Santa Cruz marine biologist David Garrison studied the 1991 incident and speculated several years later that domoic acid might have been responsible for the 1961 bird invasion. It wasn't until 2012, more than half a century after the episode, that researchers from UC San Diego's Scripps Institution of Oceanography found direct evidence that the sooty shearwaters had indeed suffered domoic acid poisoning.\u003c/p>\n\u003cp>The Scripps scientists used an archive of biological samples from California Cooperative Oceanic Fisheries Investigations, a marine monitoring program in operation since 1949, to try to investigate the conditions the birds would have encountered in Monterey Bay in the summer of 1961. Specifically, the team was looking for samples that might show the presence of Pseudo-nitzschia, a genus of diatoms that includes species known to produce domoic acid.\u003c/p>\n\u003cp>In a summary of the research published in Nature Geoscience, the Scripps oceanographers reported that Monterey Bay zooplankton collected in 1961 showed high levels of the toxin-producing diatoms. Here's the mildly worded conclusion to the Scripps team's findings:\u003c/p>\n\u003cblockquote>\u003cp>Given the similarities between events in 1961 and the domoic acid-induced poisoning of 1991, we suggest that toxic Pseudo-nitzschia were probably responsible for the odd behaviour and death of Sooty shearwaters in August 1961. This brief study therefore supports the contention that domoic acid caused the seabird frenzy ... and strongly suggests that domoic-acid-producing phytoplankton have been an agent of marine animal mortality in the California Current system for at least the past fifty years.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>OK -- maybe not quite \u003ca href=\"http://www.metv.com/shows/perry-mason\" target=\"_blank\">Perry Mason\u003c/a> stuff. But case closed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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