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"title": "Snoop Dogg's Musical Gear Reportedly Stolen in San Francisco [UPDATED]",
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"content": "\u003cp>\u003cstrong>UPDATED:\u003c/strong> \u003cem>Feb. 4, 12:10am\u003c/em>\u003c/p>\n\u003cp>Rapper Snoop Dogg’s stage gear was reportedly stolen from an SUV parked in San Francisco Monday night, one day before he began a series of concerts and DJ sets around the Bay Area. \u003c/p>\n\u003cp>Parked on a San Francisco street with laptops, luggage and other gear inside, \u003ca href=\"http://www.tmz.com/2016/02/02/snoop-dogg-burglary-concert-equipment/\" target=\"_blank\" rel=\"noopener\">law enforcement sources told TMZ\u003c/a> that the SUV was robbed clean after someone broke one of the vehicle’s windows. \u003c/p>\n\u003cp>The reports of Snoop Dogg’s equipment being stolen came out just before his live dates in the Bay Area coinciding with Super Bowl 50. They include shows at San Francisco’s Regency Ballroom Tuesday night, followed by the \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> on Wednesday and \u003ca href=\"http://www.catalystclub.com/event/1054277-snoop-dogg-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Santa Cruz’s Catalyst Club\u003c/a> on Friday. Other scheduled appearances include a party Friday at the W Hotel; Saturday’s \u003ca href=\"http://www.nbcbayarea.com/news/local/Snoop-Doggs-Youth-Football-League-Presents-Snooper-Bowl-at-San-Jose-City-College-367280361.html\" target=\"_blank\" rel=\"noopener\">“Snooper Bowl” at San Jose City College\u003c/a>; and a DJ performance at \u003ca href=\"http://www.eventbrite.com/e/dj-snoopadelic-aka-snoop-dog-super-bowl-50-sunday-tickets-21067885613\" target=\"_blank\" rel=\"noopener\">San Francisco dance club Ruby Skye\u003c/a> on Feb. 7. No shows appear to be canceled, according to the venue’s websites.\u003c/p>\n\u003cp>A rapper with a 35-year career that began with an appearance on the Dr. Dre-penned theme song for \u003ca href=\"https://www.youtube.com/watch?v=uo3rZjJB1hY\" target=\"_blank\" rel=\"noopener\">the 1992 film \u003ci>Deep Cover\u003c/i>\u003c/a>, Snoop Dogg has had several hit songs over the years, including 1994’s “Gin and Juice” and 2004’s “Drop It Like It’s Hot.” He has also appeared in several movies and television shows, and has appeared on songs by pop artists such as Katy Perry and Gorillaz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Band van break-ins occur often in San Francisco, with the past year and a half alone seeing reports of theft in the city from \u003ca href=\"http://www.sfweekly.com/shookdown/2014/12/01/emergency-funk-help-afrolicious-recover-their-stolen-gear\" target=\"_blank\" rel=\"noopener\">Afrolicious\u003c/a>, the \u003ca href=\"http://www.sfweekly.com/sanfrancisco/musicians-crime-tours-sfpd-the-warlocks-la-drugz/Content?oid=3698715\" target=\"_blank\" rel=\"noopener\">Warlocks\u003c/a>, \u003ca href=\"http://www.sfweekly.com/sanfrancisco/musicians-crime-tours-sfpd-the-warlocks-la-drugz/Content?oid=3698715\" target=\"_blank\" rel=\"noopener\">L.A. Drugz\u003c/a>, \u003ca href=\"http://www.brooklynvegan.com/archives/2015/11/jeff_rosenstock_5.html\" target=\"_blank\" rel=\"noopener\">Jeff Rosetnstock\u003c/a>, \u003ca href=\"http://www.theprp.com/2015/12/17/news/bitter-ends-van-broken-into-in-san-francisco-ca-personal-items-stolen/\" target=\"_blank\" rel=\"noopener\">Bitter End\u003c/a>, \u003ca href=\"http://www.altpress.com/news/entry/seaway_pure_noise_records_robbed_in_san_francisco\" target=\"_blank\" rel=\"noopener\">Seaway\u003c/a>, \u003ca href=\"http://liveforlivemusic.com/news/someone-broke-into-fruitions-van-and-stole-mimi-najas-mandolin/\" target=\"_blank\" rel=\"noopener\">Fruition\u003c/a>, \u003ca href=\"https://www.facebook.com/PUJOLDOTCOM/posts/965896740103766\" target=\"_blank\" rel=\"noopener\">Pujol\u003c/a>, \u003ca href=\"http://www.metropolis-records.com/news/?id=148\" target=\"_blank\" rel=\"noopener\">God Module\u003c/a>, \u003ca href=\"http://www.thevinyldistrict.com/neworleans/2015/06/tvd-recommends-pack-van-benefit-concert-hildegard-howlin-wolf-612/\" target=\"_blank\" rel=\"noopener\">Hildegarde\u003c/a>, \u003ca href=\"http://www.theprp.com/2015/04/09/news/scare-dont-fears-van-broken-into-during-san-francisco-ca-show/\" target=\"_blank\" rel=\"noopener\">Scare Don’t Fear\u003c/a>, and \u003ca href=\"http://live105.cbslocal.com/2015/05/27/waters-van-and-trailer-were-burglarized-last-night-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Waters\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>UPDATE:\u003c/i> Snoop Dogg has taken to \u003ca href=\"https://www.instagram.com/p/BBTeV2Dv9HI/\" target=\"_blank\" rel=\"noopener\">Instagram to deny TMZ’s report\u003c/a>. \u003ca href=\"http://www.tmz.com/2016/02/02/snoop-dogg-concert-gear-burglary/\" target=\"_blank\" rel=\"noopener\">TMZ has updated their story\u003c/a> to defend their reporting against Snoop’s claims.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>UPDATED:\u003c/strong> \u003cem>Feb. 4, 12:10am\u003c/em>\u003c/p>\n\u003cp>Rapper Snoop Dogg’s stage gear was reportedly stolen from an SUV parked in San Francisco Monday night, one day before he began a series of concerts and DJ sets around the Bay Area. \u003c/p>\n\u003cp>Parked on a San Francisco street with laptops, luggage and other gear inside, \u003ca href=\"http://www.tmz.com/2016/02/02/snoop-dogg-burglary-concert-equipment/\" target=\"_blank\" rel=\"noopener\">law enforcement sources told TMZ\u003c/a> that the SUV was robbed clean after someone broke one of the vehicle’s windows. \u003c/p>\n\u003cp>The reports of Snoop Dogg’s equipment being stolen came out just before his live dates in the Bay Area coinciding with Super Bowl 50. They include shows at San Francisco’s Regency Ballroom Tuesday night, followed by the \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> on Wednesday and \u003ca href=\"http://www.catalystclub.com/event/1054277-snoop-dogg-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Santa Cruz’s Catalyst Club\u003c/a> on Friday. Other scheduled appearances include a party Friday at the W Hotel; Saturday’s \u003ca href=\"http://www.nbcbayarea.com/news/local/Snoop-Doggs-Youth-Football-League-Presents-Snooper-Bowl-at-San-Jose-City-College-367280361.html\" target=\"_blank\" rel=\"noopener\">“Snooper Bowl” at San Jose City College\u003c/a>; and a DJ performance at \u003ca href=\"http://www.eventbrite.com/e/dj-snoopadelic-aka-snoop-dog-super-bowl-50-sunday-tickets-21067885613\" target=\"_blank\" rel=\"noopener\">San Francisco dance club Ruby Skye\u003c/a> on Feb. 7. No shows appear to be canceled, according to the venue’s websites.\u003c/p>\n\u003cp>A rapper with a 35-year career that began with an appearance on the Dr. Dre-penned theme song for \u003ca href=\"https://www.youtube.com/watch?v=uo3rZjJB1hY\" target=\"_blank\" rel=\"noopener\">the 1992 film \u003ci>Deep Cover\u003c/i>\u003c/a>, Snoop Dogg has had several hit songs over the years, including 1994’s “Gin and Juice” and 2004’s “Drop It Like It’s Hot.” He has also appeared in several movies and television shows, and has appeared on songs by pop artists such as Katy Perry and Gorillaz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Band van break-ins occur often in San Francisco, with the past year and a half alone seeing reports of theft in the city from \u003ca href=\"http://www.sfweekly.com/shookdown/2014/12/01/emergency-funk-help-afrolicious-recover-their-stolen-gear\" target=\"_blank\" rel=\"noopener\">Afrolicious\u003c/a>, the \u003ca href=\"http://www.sfweekly.com/sanfrancisco/musicians-crime-tours-sfpd-the-warlocks-la-drugz/Content?oid=3698715\" target=\"_blank\" rel=\"noopener\">Warlocks\u003c/a>, \u003ca href=\"http://www.sfweekly.com/sanfrancisco/musicians-crime-tours-sfpd-the-warlocks-la-drugz/Content?oid=3698715\" target=\"_blank\" rel=\"noopener\">L.A. Drugz\u003c/a>, \u003ca href=\"http://www.brooklynvegan.com/archives/2015/11/jeff_rosenstock_5.html\" target=\"_blank\" rel=\"noopener\">Jeff Rosetnstock\u003c/a>, \u003ca href=\"http://www.theprp.com/2015/12/17/news/bitter-ends-van-broken-into-in-san-francisco-ca-personal-items-stolen/\" target=\"_blank\" rel=\"noopener\">Bitter End\u003c/a>, \u003ca href=\"http://www.altpress.com/news/entry/seaway_pure_noise_records_robbed_in_san_francisco\" target=\"_blank\" rel=\"noopener\">Seaway\u003c/a>, \u003ca href=\"http://liveforlivemusic.com/news/someone-broke-into-fruitions-van-and-stole-mimi-najas-mandolin/\" target=\"_blank\" rel=\"noopener\">Fruition\u003c/a>, \u003ca href=\"https://www.facebook.com/PUJOLDOTCOM/posts/965896740103766\" target=\"_blank\" rel=\"noopener\">Pujol\u003c/a>, \u003ca href=\"http://www.metropolis-records.com/news/?id=148\" target=\"_blank\" rel=\"noopener\">God Module\u003c/a>, \u003ca href=\"http://www.thevinyldistrict.com/neworleans/2015/06/tvd-recommends-pack-van-benefit-concert-hildegard-howlin-wolf-612/\" target=\"_blank\" rel=\"noopener\">Hildegarde\u003c/a>, \u003ca href=\"http://www.theprp.com/2015/04/09/news/scare-dont-fears-van-broken-into-during-san-francisco-ca-show/\" target=\"_blank\" rel=\"noopener\">Scare Don’t Fear\u003c/a>, and \u003ca href=\"http://live105.cbslocal.com/2015/05/27/waters-van-and-trailer-were-burglarized-last-night-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Waters\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>UPDATE:\u003c/i> Snoop Dogg has taken to \u003ca href=\"https://www.instagram.com/p/BBTeV2Dv9HI/\" target=\"_blank\" rel=\"noopener\">Instagram to deny TMZ’s report\u003c/a>. \u003ca href=\"http://www.tmz.com/2016/02/02/snoop-dogg-concert-gear-burglary/\" target=\"_blank\" rel=\"noopener\">TMZ has updated their story\u003c/a> to defend their reporting against Snoop’s claims.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Former DA Says Bill Cosby is Shielded from Prosecution",
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"content": "\u003cp>The former district attorney who declined a decade ago to bring sex-crime charges against Bill Cosby testified Tuesday that his decision binds his successors and forever closes the door on prosecuting the comedian.\u003c/p>\n\u003cp>Former Montgomery County District Attorney Bruce Castor took the stand as part of a bid by Cosby’s lawyers to get the case against the TV star thrown out because of what they say is a non-prosecution agreement from Castor.\u003c/p>\n\u003cp>The current district attorney has said there is no record of any such agreement.\u003c/p>\n\u003cp>Cosby, 78, was arrested and charged in December with drugging and violating former Temple University athletic department employee Andrea Constand at his suburban Philadelphia mansion in 2004. He could get up to 10 years in prison if convicted.\u003c/p>\n\u003cp>Castor said Tuesday that he believed Constand was violated but that proving it would have been problematic because of serious flaws in the case, and so he declined to bring charges in 2005.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He said that he made the decision as a representative of the state — as “the sovereign,” as he put it, over and over — and that it would last in perpetuity.\u003c/p>\n\u003cp>“For all time, yes,” Castor said when pressed.\u003c/p>\n\u003cp>And he suggested that Cosby and his lawyer at the time had the same understanding, because Cosby later agreed to testify without invoking his Fifth Amendment right against self-incrimination in a lawsuit brought against him by Constand.\u003c/p>\n\u003cp>“Cosby would’ve had to have been nuts to say those things if there was any chance he could’ve been prosecuted,” Castor said, referring to the damaging testimony unsealed last summer.\u003c/p>\n\u003cp>Castor said he hoped, correctly, at the time that the decision not to prosecute would free the comedian to testify in the lawsuit and help Constand win damages. She eventually settled for an undisclosed amount.\u003c/p>\n\u003cp>The former DA said he “wanted there to be some measure of justice” for Constand, explaining, “I thought making Mr. Cosby pay money was the best I was going to be able to set the stage for.”\u003c/p>\n\u003cp>He added: “I was hopeful that I had made Ms. Constand a millionaire.”\u003c/p>\n\u003cp>He said he relayed word to Cosby’s then-attorney, Walter Phillips, that Cosby would not be charged. However, Castor said the two lawyers did not have an actual agreement that Cosby would testify in exchange for not being prosecuted.\u003c/p>\n\u003cp>Phillips has since died.\u003c/p>\n\u003cp>Kevin Steele, the newly elected DA who is pursuing the case, has said Cosby would need an immunity agreement in writing to get the case thrown out. He has said he has no evidence one exists.\u003c/p>\n\u003cp>It was not immediately clear when Common Pleas Judge Steven T. O’Neill would rule.\u003c/p>\n\u003cp>While Castor was called as witness by Cosby’s side, the former DA said he is rooting for the prosecution.\u003c/p>\n\u003cp>“I’m not on your team here,” Castor told Cosby lawyer Brian McMonagle. “I want them to win.”\u003c/p>\n\u003cp>In a barrage of allegations that have destroyed Cosby’s image as America’s Dad, dozens of women have accused the former TV star of drugging and sexually assaulting them since the 1960s. But this is the only case in which he has been charged.\u003c/p>\n\u003cp>The unsealing of the testimony from Constand’s lawsuit prompted Castor’s successors to reopen the case and ultimately charge Cosby.\u003c/p>\n\u003cp>Cosby admitted in the deposition that he had affairs with young models and actresses, that he obtained quaaludes to give to women he wanted to have sex with and that he gave Constand three pills at his home. He said he reached into her pants but insisted it was consensual.\u003c/p>\n\u003cp>Castor defended his decision not to bring charges, testifying that he saw Constand’s year-long delay in reporting the allegations, inconsistencies in her statements and her contact with a lawyer before going to police as problematic.\u003c/p>\n\u003cp>Castor said Constand’s delay was of “enormous significance” in his consideration of the case. He said it thwarted his ability to test her hair or fingernails for evidence she was drugged.\u003c/p>\n\u003cp>Still, Castor said, he investigated the case thoroughly because he wanted to show authorities in Constand’s native Canada that celebrities don’t get preferential treatment in America.\u003c/p>\n\u003cp>Anne Poulin, a law professor at Villanova University, said the defense has a high bar to meet to get the case thrown out early on. But “if they can win without this ever going to trial, then they’ve done their client a big service.”\u003c/p>\n\u003cp>In related news, a Los Angeles judge ordered Cosby to attend another deposition in a lawsuit filed by a woman who says the comic forced her to perform a sex act on him at the Playboy Mansion around 1974, when she was 15.\u003c/p>\n\u003cp>Also Tuesday, model Chloe Goins dropped a lawsuit accusing Cosby of drugging and sexually assaulting her at the Playboy Mansion in 2008. Goins gave no explanation.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Michael R. Sisak and Errin Haines Whack contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"description": "The former district attorney who declined a decade ago to bring sex-crime charges against Bill Cosby testified Tuesday that his decision binds his successors and forever closes the door on prosecuting the comedian. Former Montgomery County District Attorney Bruce Castor took the stand as part of a bid by Cosby's lawyers to get the case against the TV star thrown out because of what they say is a non-prosecution agreement from Castor. The current district attorney has said there is no record of any such agreement. Cosby, 78, was arrested and charged in December with drugging and violating former Temple",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The former district attorney who declined a decade ago to bring sex-crime charges against Bill Cosby testified Tuesday that his decision binds his successors and forever closes the door on prosecuting the comedian.\u003c/p>\n\u003cp>Former Montgomery County District Attorney Bruce Castor took the stand as part of a bid by Cosby’s lawyers to get the case against the TV star thrown out because of what they say is a non-prosecution agreement from Castor.\u003c/p>\n\u003cp>The current district attorney has said there is no record of any such agreement.\u003c/p>\n\u003cp>Cosby, 78, was arrested and charged in December with drugging and violating former Temple University athletic department employee Andrea Constand at his suburban Philadelphia mansion in 2004. He could get up to 10 years in prison if convicted.\u003c/p>\n\u003cp>Castor said Tuesday that he believed Constand was violated but that proving it would have been problematic because of serious flaws in the case, and so he declined to bring charges in 2005.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He said that he made the decision as a representative of the state — as “the sovereign,” as he put it, over and over — and that it would last in perpetuity.\u003c/p>\n\u003cp>“For all time, yes,” Castor said when pressed.\u003c/p>\n\u003cp>And he suggested that Cosby and his lawyer at the time had the same understanding, because Cosby later agreed to testify without invoking his Fifth Amendment right against self-incrimination in a lawsuit brought against him by Constand.\u003c/p>\n\u003cp>“Cosby would’ve had to have been nuts to say those things if there was any chance he could’ve been prosecuted,” Castor said, referring to the damaging testimony unsealed last summer.\u003c/p>\n\u003cp>Castor said he hoped, correctly, at the time that the decision not to prosecute would free the comedian to testify in the lawsuit and help Constand win damages. She eventually settled for an undisclosed amount.\u003c/p>\n\u003cp>The former DA said he “wanted there to be some measure of justice” for Constand, explaining, “I thought making Mr. Cosby pay money was the best I was going to be able to set the stage for.”\u003c/p>\n\u003cp>He added: “I was hopeful that I had made Ms. Constand a millionaire.”\u003c/p>\n\u003cp>He said he relayed word to Cosby’s then-attorney, Walter Phillips, that Cosby would not be charged. However, Castor said the two lawyers did not have an actual agreement that Cosby would testify in exchange for not being prosecuted.\u003c/p>\n\u003cp>Phillips has since died.\u003c/p>\n\u003cp>Kevin Steele, the newly elected DA who is pursuing the case, has said Cosby would need an immunity agreement in writing to get the case thrown out. He has said he has no evidence one exists.\u003c/p>\n\u003cp>It was not immediately clear when Common Pleas Judge Steven T. O’Neill would rule.\u003c/p>\n\u003cp>While Castor was called as witness by Cosby’s side, the former DA said he is rooting for the prosecution.\u003c/p>\n\u003cp>“I’m not on your team here,” Castor told Cosby lawyer Brian McMonagle. “I want them to win.”\u003c/p>\n\u003cp>In a barrage of allegations that have destroyed Cosby’s image as America’s Dad, dozens of women have accused the former TV star of drugging and sexually assaulting them since the 1960s. But this is the only case in which he has been charged.\u003c/p>\n\u003cp>The unsealing of the testimony from Constand’s lawsuit prompted Castor’s successors to reopen the case and ultimately charge Cosby.\u003c/p>\n\u003cp>Cosby admitted in the deposition that he had affairs with young models and actresses, that he obtained quaaludes to give to women he wanted to have sex with and that he gave Constand three pills at his home. He said he reached into her pants but insisted it was consensual.\u003c/p>\n\u003cp>Castor defended his decision not to bring charges, testifying that he saw Constand’s year-long delay in reporting the allegations, inconsistencies in her statements and her contact with a lawyer before going to police as problematic.\u003c/p>\n\u003cp>Castor said Constand’s delay was of “enormous significance” in his consideration of the case. He said it thwarted his ability to test her hair or fingernails for evidence she was drugged.\u003c/p>\n\u003cp>Still, Castor said, he investigated the case thoroughly because he wanted to show authorities in Constand’s native Canada that celebrities don’t get preferential treatment in America.\u003c/p>\n\u003cp>Anne Poulin, a law professor at Villanova University, said the defense has a high bar to meet to get the case thrown out early on. But “if they can win without this ever going to trial, then they’ve done their client a big service.”\u003c/p>\n\u003cp>In related news, a Los Angeles judge ordered Cosby to attend another deposition in a lawsuit filed by a woman who says the comic forced her to perform a sex act on him at the Playboy Mansion around 1974, when she was 15.\u003c/p>\n\u003cp>Also Tuesday, model Chloe Goins dropped a lawsuit accusing Cosby of drugging and sexually assaulting her at the Playboy Mansion in 2008. Goins gave no explanation.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Michael R. Sisak and Errin Haines Whack contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Once upon a time, an artist actually had to \u003cem>sell\u003c/em> albums to earn gold or platinum awards from the Recording Industry Association of America (RIAA). But today, the RIAA \u003ca href=\"http://www.riaa.com/riaa-debuts-album-award-streams/\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> that they’re catching up with how fans actually listen to music: On-demand streaming, either on video or audio platforms, counts toward that status.\u003c/p>\n\u003cp>In order to get to that reckoning, the RIAA has created a new formula: 1,500 streams is now the official equivalent of ten single track sales or one album sale. (Gold status is awarded after the equivalent of 500,000 sales; platinum, on 1,000,000 sales.) Theoretically, if an artist’s single were streamed 1.5 billion times on YouTube, the whole album could be certified platinum.\u003c/p>\n\u003cp>Seventeen albums have immediately benefited from these new benchmarks, including \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a>’s \u003cem>To Pimp A Butterfly\u003c/em>, which is now platinum, and \u003ca href=\"http://www.npr.org/artists/164187667/alt-j\" target=\"_blank\" rel=\"noopener\">Alt-J\u003c/a>’s \u003cem>An Awesome Wave\u003c/em>, which earned a gold award.\u003c/p>\n\u003cp>But perhaps the most immediately buzzed-about award has gone to \u003ca href=\"http://www.npr.org/tags/125943991/rihanna/archive\" target=\"_blank\" rel=\"noopener\">Rihanna\u003c/a>’s new album \u003cem>Anti\u003c/em>, which \u003ca href=\"https://twitter.com/RIAA/status/693117513434021888\" target=\"_blank\" rel=\"noopener\">went platinum\u003c/a> on Friday, less than two days after it first leaked and then was officially released only on Tidal, the streaming platform co-owned by Rihanna.\u003c/p>\n\u003cp>It didn’t hit the mark solely because of streams, though. A Tidal representative told \u003cem>Spin\u003c/em> magazine that \u003cem>Anti\u003c/em> was downloaded more than 1.4 million times in its \u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/?utm_source=spintwitter&utm_medium=social&utm_campaign=spintwitter\" target=\"_blank\" rel=\"noopener\">first 15 hours\u003c/a> of availability. A “limited” number of those downloads of the album were given away for free to fans through a \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2016/01/anti-capitalism/435411/\" target=\"_blank\" rel=\"noopener\">promotional arrangement\u003c/a> with Samsung. The \u003cem>New York Post\u003c/em> reported last October that the Barbados-born singer signed a deal for \u003ca href=\"http://nypost.com/2015/10/29/rihanna-inks-25m-sponsorship-deal-with-samsung/\" target=\"_blank\" rel=\"noopener\">$25 million\u003c/a> with the South Korean electronics megaplayer to sponsor both the \u003cem>Anti \u003c/em>album and tour.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>However, the ratings company Nielsen Music and \u003cem>Billboard \u003c/em>are not counting those promotional downloads of \u003cem>Anti\u003c/em> in their own, separate chart calculations, as they explained in a statement they provided to \u003cem>\u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/\" target=\"_blank\" rel=\"noopener\">Spin\u003c/a>\u003c/em>. \u003cem>Billboard\u003c/em> says they will only count the “400k+” paid downloads via Tidal — meaning that perhaps up to a million copies of \u003cem>Anti\u003c/em> were downloaded via that free promotion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ways in which the RIAA has historically tallied its numbers, however, have not always been strictly sales-based; the group previously counted units shipped to retailers, but \u003ca href=\"http://articles.latimes.com/1995-01-15/entertainment/ca-20083_1_lion-king\" target=\"_blank\" rel=\"noopener\">not necessarily sold\u003c/a>, within their calculations. This differs from how Nielsen determines their numbers, which used to be based entirely on sales but now combines sales of physical product with downloads and on-demand streams. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Forget+Selling+Albums+%E2%80%94+Artists+Can+Now+Go+Platinum+Via+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Once upon a time, an artist actually had to \u003cem>sell\u003c/em> albums to earn gold or platinum awards from the Recording Industry Association of America (RIAA). But today, the RIAA \u003ca href=\"http://www.riaa.com/riaa-debuts-album-award-streams/\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> that they’re catching up with how fans actually listen to music: On-demand streaming, either on video or audio platforms, counts toward that status.\u003c/p>\n\u003cp>In order to get to that reckoning, the RIAA has created a new formula: 1,500 streams is now the official equivalent of ten single track sales or one album sale. (Gold status is awarded after the equivalent of 500,000 sales; platinum, on 1,000,000 sales.) Theoretically, if an artist’s single were streamed 1.5 billion times on YouTube, the whole album could be certified platinum.\u003c/p>\n\u003cp>Seventeen albums have immediately benefited from these new benchmarks, including \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a>’s \u003cem>To Pimp A Butterfly\u003c/em>, which is now platinum, and \u003ca href=\"http://www.npr.org/artists/164187667/alt-j\" target=\"_blank\" rel=\"noopener\">Alt-J\u003c/a>’s \u003cem>An Awesome Wave\u003c/em>, which earned a gold award.\u003c/p>\n\u003cp>But perhaps the most immediately buzzed-about award has gone to \u003ca href=\"http://www.npr.org/tags/125943991/rihanna/archive\" target=\"_blank\" rel=\"noopener\">Rihanna\u003c/a>’s new album \u003cem>Anti\u003c/em>, which \u003ca href=\"https://twitter.com/RIAA/status/693117513434021888\" target=\"_blank\" rel=\"noopener\">went platinum\u003c/a> on Friday, less than two days after it first leaked and then was officially released only on Tidal, the streaming platform co-owned by Rihanna.\u003c/p>\n\u003cp>It didn’t hit the mark solely because of streams, though. A Tidal representative told \u003cem>Spin\u003c/em> magazine that \u003cem>Anti\u003c/em> was downloaded more than 1.4 million times in its \u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/?utm_source=spintwitter&utm_medium=social&utm_campaign=spintwitter\" target=\"_blank\" rel=\"noopener\">first 15 hours\u003c/a> of availability. A “limited” number of those downloads of the album were given away for free to fans through a \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2016/01/anti-capitalism/435411/\" target=\"_blank\" rel=\"noopener\">promotional arrangement\u003c/a> with Samsung. The \u003cem>New York Post\u003c/em> reported last October that the Barbados-born singer signed a deal for \u003ca href=\"http://nypost.com/2015/10/29/rihanna-inks-25m-sponsorship-deal-with-samsung/\" target=\"_blank\" rel=\"noopener\">$25 million\u003c/a> with the South Korean electronics megaplayer to sponsor both the \u003cem>Anti \u003c/em>album and tour.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>However, the ratings company Nielsen Music and \u003cem>Billboard \u003c/em>are not counting those promotional downloads of \u003cem>Anti\u003c/em> in their own, separate chart calculations, as they explained in a statement they provided to \u003cem>\u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/\" target=\"_blank\" rel=\"noopener\">Spin\u003c/a>\u003c/em>. \u003cem>Billboard\u003c/em> says they will only count the “400k+” paid downloads via Tidal — meaning that perhaps up to a million copies of \u003cem>Anti\u003c/em> were downloaded via that free promotion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ways in which the RIAA has historically tallied its numbers, however, have not always been strictly sales-based; the group previously counted units shipped to retailers, but \u003ca href=\"http://articles.latimes.com/1995-01-15/entertainment/ca-20083_1_lion-king\" target=\"_blank\" rel=\"noopener\">not necessarily sold\u003c/a>, within their calculations. This differs from how Nielsen determines their numbers, which used to be based entirely on sales but now combines sales of physical product with downloads and on-demand streams. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Forget+Selling+Albums+%E2%80%94+Artists+Can+Now+Go+Platinum+Via+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>About 40 years ago, when she was 24, Consuelo Hermosillo had an emergency cesarean section at Los Angeles County-USC Medical Center. In the new documentary, “No Más Bebés,” she recalls asking her doctor what type of birth control she should use going forward.\u003c/p>\n\u003cp>“He goes, ‘You don’t need anything. We cut your tubes,’ ” Hermosillo says in the film. “And I said, ‘Why?’ And he said, ‘Well you signed for it.’ And I said, ‘Me?’ ”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nomasbebesmovie.com/\">“No Más Bebés (No More Babies),”\u003c/a> which aired on PBS Monday night, tells the story of how 10 immigrant Mexican women, Hermosillo included, sued Los Angeles County doctors, the state and the U.S. government in 1975 for allegedly violating their civil rights. The women’s cases were similar. Each had an emergency cesarean section and each said she was either unaware that she signed for a tubal ligation or was told by a medical professional that not signing for one could mean death for her and her unborn child.\u003c/p>\n\u003cp>You can \u003ca href=\"http://www.pbs.org/independentlens/videos/no-mas-bebes/\" target=\"_blank\" rel=\"noopener\">watch the full “No Más Bebés” film here\u003c/a>.\u003c/p>\n\u003cp>It examines how the lawsuit, \u003cem>Madrigal v. Quilligan\u003c/em>, came to be, how questions of informed consent — or lack thereof — and coercion played into the case, and how the collision of various societal issues resulted in stories like Hermosillo’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aseQlmKg25U\u003c/p>\n\u003cp>“When you’re a filmmaker, the easiest thing to do is make a film about the good guys and the bad guys, the heroes and the villains,” says director \u003ca href=\"http://www.asianam.ucla.edu/people/renee-tajima-pe%C3%B1a\">Renee Tajima-Peña\u003c/a>. She says she and co-producer \u003ca href=\"http://itvs.org/films/no-mas-bebes/filmmaker\">Virginia Espino\u003c/a>, a historian who wrote her dissertation on the case, wanted to tell a multilayered story, one that revealed how even the best intentions could do harm.\u003c/p>\n\u003cp>Tajima-Peña and Espino explore the roles played by federally funded family-planning programs; a growing popular movement to curb population growth that attracted both environmentalists and anti-immigration proponents; doctors fresh out of medical school working in under-resourced maternity wards; cultural misunderstandings; and the popular belief that poor women who need public assistance should abstain from having children.\u003c/p>\n\u003cp>Taken together, these factors created what Tajima-Peña calls a “perfect storm” resulting in the sterilization of thousands of vulnerable women across the country in the late ’60s and early 1970s. She and Espino say their goal was to document a history that continues to repeat itself — they point to \u003ca href=\"http://cironline.org/reports/female-inmates-sterilized-california-prisons-without-approval-4917\">nearly 150 women sterilized in California prisons between 2006 and 2010\u003c/a> as the most recent example.\u003c/p>\n\u003cp>In telling this history, the film highlights the role played by the Family Planning and Population Research Act, which Congress passed in 1970, allocating millions for family-planning purposes. That money went to fund contraceptives, education, research and training. “You’ve got money for family planning programs, which were good programs and provided contraceptives for women who couldn’t afford it,” says Tajima-Peña. Congress also lifted a ban on federal funding for sterilization, so hospitals that provided the indigent with medical care, like Los Angeles County General Hospital, could apply for government money to perform tubal ligations.\u003c/p>\n\u003cp>Meanwhile, lobbying efforts in Washington, fueled by a fear of overpopulation gripping the nation, led to yet more funding for family planning programs. Inspired by the popularity of biologist Paul Ehrlich’s best-selling 1968 book, “\u003ca href=\"http://www.nytimes.com/2015/06/01/us/the-unrealized-horrors-of-population-explosion.html\">The Population Bomb\u003c/a>,” which predicted that at some point in the 1980s, overpopulation would make it impossible for the planet to support humanity, members of the “zero population movement” worked to convince the public that having children was a very bad idea. Some went so far as promoting the sterilization of women deemed to have had too many. (They also called for a dramatic reduction to immigration.)\u003c/p>\n\u003cp>[contextly_sidebar id=”Akm8so5PCpQmztRAsKC6euza1J5VHAba”]\u003c/p>\n\u003cp>Then, there were divisions within the feminist movement on how sterilization fit into the bigger picture of reproductive rights. Mainstream white feminists marched for “the right to choose,” including unfettered access to sterilizations, contraception and abortions. Feminists of color also called for abortion rights and easy access to contraception, but broke with white feminists on the issue of sterilization, arguing that for women of color, sterilization was not always a matter of choice. They called for waiting periods before tubal ligation procedures, and Latina activists called for Spanish-language consent forms.\u003c/p>\n\u003cp>In “No Más Bebés,” California politician \u003ca href=\"http://www.latimes.com/la-oe-morrison-new29-2009aug29-column.html\">Gloria Molina\u003c/a>, who was active in the Chicana feminist movement in the 1970s, says the idea of a waiting period was “totally offensive” to white feminists, who, she says, pushed for sterilization upon demand. “They weren’t taking into account that if you were Spanish-speaking, and if you don’t speak English, you were being denied a right, totally,” Molina says in the film.\u003c/p>\n\u003cp>And then there was the long-held stance, still popular today, that poor women should not have children they can’t afford to support, especially poor women of color. For decades, \u003ca href=\"https://www.uic.edu/orgs/cwluherstory/CWLUArchive/puertorico.html\">Puerto Rican women had been subjected to sterilizations at various points\u003c/a> as a way to combat astronomical unemployment and poverty on the island; a 1965 survey found that a third of Puerto Rican mothers living on the island at the time had been sterilized. \u003ca href=\"https://muse.jhu.edu/login?auth=0&type=summary&url=/journals/american_indian_quarterly/v024/24.3lawrence.html\">Native American women\u003c/a> were sterilized at the hands of the Indian Health Service in the 1970s. Poor African-American women on government assistance were also sterilized across the country during that time period. \u003ca href=\"https://www.splcenter.org/seeking-justice/case-docket/relf-v-weinberger\">A particularly damning case\u003c/a>, brought two years before \u003cem>Madrigal v. Quilligan\u003c/em>, involved two black sisters sterilized at ages 14 and 12 in Alabama.\u003c/p>\n\u003cp>So, to recap: You had a surge of federal money for sterilizations, mainstream feminists calling for easier access to them, a fear that overpopulation would soon destroy the planet and the fear that poor women were burdening the country with children whom taxpayers would need to feed, clothe and educate. This nexus of events — and the consequences, intended and unintended, that followed — is the knot that “No Más Bebés” tries to untie.\u003c/p>\n\u003cp>“Why were they doing it?” Consuelo Hermosillo, one of the 10 plaintiffs in \u003cem>Madrigal v. Quilligan\u003c/em>, asks on camera at one point in the film, nearly 40 years after her sterilization at L.A. County General. “I always keep these questions with me, and I never get those answers,” she says.\u003c/p>\n\u003cp>[ad floatright]\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>About 40 years ago, when she was 24, Consuelo Hermosillo had an emergency cesarean section at Los Angeles County-USC Medical Center. In the new documentary, “No Más Bebés,” she recalls asking her doctor what type of birth control she should use going forward.\u003c/p>\n\u003cp>“He goes, ‘You don’t need anything. We cut your tubes,’ ” Hermosillo says in the film. “And I said, ‘Why?’ And he said, ‘Well you signed for it.’ And I said, ‘Me?’ ”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nomasbebesmovie.com/\">“No Más Bebés (No More Babies),”\u003c/a> which aired on PBS Monday night, tells the story of how 10 immigrant Mexican women, Hermosillo included, sued Los Angeles County doctors, the state and the U.S. government in 1975 for allegedly violating their civil rights. The women’s cases were similar. Each had an emergency cesarean section and each said she was either unaware that she signed for a tubal ligation or was told by a medical professional that not signing for one could mean death for her and her unborn child.\u003c/p>\n\u003cp>You can \u003ca href=\"http://www.pbs.org/independentlens/videos/no-mas-bebes/\" target=\"_blank\" rel=\"noopener\">watch the full “No Más Bebés” film here\u003c/a>.\u003c/p>\n\u003cp>It examines how the lawsuit, \u003cem>Madrigal v. Quilligan\u003c/em>, came to be, how questions of informed consent — or lack thereof — and coercion played into the case, and how the collision of various societal issues resulted in stories like Hermosillo’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aseQlmKg25U'\n title='//www.youtube.com/embed/aseQlmKg25U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When you’re a filmmaker, the easiest thing to do is make a film about the good guys and the bad guys, the heroes and the villains,” says director \u003ca href=\"http://www.asianam.ucla.edu/people/renee-tajima-pe%C3%B1a\">Renee Tajima-Peña\u003c/a>. She says she and co-producer \u003ca href=\"http://itvs.org/films/no-mas-bebes/filmmaker\">Virginia Espino\u003c/a>, a historian who wrote her dissertation on the case, wanted to tell a multilayered story, one that revealed how even the best intentions could do harm.\u003c/p>\n\u003cp>Tajima-Peña and Espino explore the roles played by federally funded family-planning programs; a growing popular movement to curb population growth that attracted both environmentalists and anti-immigration proponents; doctors fresh out of medical school working in under-resourced maternity wards; cultural misunderstandings; and the popular belief that poor women who need public assistance should abstain from having children.\u003c/p>\n\u003cp>Taken together, these factors created what Tajima-Peña calls a “perfect storm” resulting in the sterilization of thousands of vulnerable women across the country in the late ’60s and early 1970s. She and Espino say their goal was to document a history that continues to repeat itself — they point to \u003ca href=\"http://cironline.org/reports/female-inmates-sterilized-california-prisons-without-approval-4917\">nearly 150 women sterilized in California prisons between 2006 and 2010\u003c/a> as the most recent example.\u003c/p>\n\u003cp>In telling this history, the film highlights the role played by the Family Planning and Population Research Act, which Congress passed in 1970, allocating millions for family-planning purposes. That money went to fund contraceptives, education, research and training. “You’ve got money for family planning programs, which were good programs and provided contraceptives for women who couldn’t afford it,” says Tajima-Peña. Congress also lifted a ban on federal funding for sterilization, so hospitals that provided the indigent with medical care, like Los Angeles County General Hospital, could apply for government money to perform tubal ligations.\u003c/p>\n\u003cp>Meanwhile, lobbying efforts in Washington, fueled by a fear of overpopulation gripping the nation, led to yet more funding for family planning programs. Inspired by the popularity of biologist Paul Ehrlich’s best-selling 1968 book, “\u003ca href=\"http://www.nytimes.com/2015/06/01/us/the-unrealized-horrors-of-population-explosion.html\">The Population Bomb\u003c/a>,” which predicted that at some point in the 1980s, overpopulation would make it impossible for the planet to support humanity, members of the “zero population movement” worked to convince the public that having children was a very bad idea. Some went so far as promoting the sterilization of women deemed to have had too many. (They also called for a dramatic reduction to immigration.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Then, there were divisions within the feminist movement on how sterilization fit into the bigger picture of reproductive rights. Mainstream white feminists marched for “the right to choose,” including unfettered access to sterilizations, contraception and abortions. Feminists of color also called for abortion rights and easy access to contraception, but broke with white feminists on the issue of sterilization, arguing that for women of color, sterilization was not always a matter of choice. They called for waiting periods before tubal ligation procedures, and Latina activists called for Spanish-language consent forms.\u003c/p>\n\u003cp>In “No Más Bebés,” California politician \u003ca href=\"http://www.latimes.com/la-oe-morrison-new29-2009aug29-column.html\">Gloria Molina\u003c/a>, who was active in the Chicana feminist movement in the 1970s, says the idea of a waiting period was “totally offensive” to white feminists, who, she says, pushed for sterilization upon demand. “They weren’t taking into account that if you were Spanish-speaking, and if you don’t speak English, you were being denied a right, totally,” Molina says in the film.\u003c/p>\n\u003cp>And then there was the long-held stance, still popular today, that poor women should not have children they can’t afford to support, especially poor women of color. For decades, \u003ca href=\"https://www.uic.edu/orgs/cwluherstory/CWLUArchive/puertorico.html\">Puerto Rican women had been subjected to sterilizations at various points\u003c/a> as a way to combat astronomical unemployment and poverty on the island; a 1965 survey found that a third of Puerto Rican mothers living on the island at the time had been sterilized. \u003ca href=\"https://muse.jhu.edu/login?auth=0&type=summary&url=/journals/american_indian_quarterly/v024/24.3lawrence.html\">Native American women\u003c/a> were sterilized at the hands of the Indian Health Service in the 1970s. Poor African-American women on government assistance were also sterilized across the country during that time period. \u003ca href=\"https://www.splcenter.org/seeking-justice/case-docket/relf-v-weinberger\">A particularly damning case\u003c/a>, brought two years before \u003cem>Madrigal v. Quilligan\u003c/em>, involved two black sisters sterilized at ages 14 and 12 in Alabama.\u003c/p>\n\u003cp>So, to recap: You had a surge of federal money for sterilizations, mainstream feminists calling for easier access to them, a fear that overpopulation would soon destroy the planet and the fear that poor women were burdening the country with children whom taxpayers would need to feed, clothe and educate. This nexus of events — and the consequences, intended and unintended, that followed — is the knot that “No Más Bebés” tries to untie.\u003c/p>\n\u003cp>“Why were they doing it?” Consuelo Hermosillo, one of the 10 plaintiffs in \u003cem>Madrigal v. Quilligan\u003c/em>, asks on camera at one point in the film, nearly 40 years after her sterilization at L.A. County General. “I always keep these questions with me, and I never get those answers,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Signe Toly Anderson, a vocalist and original member of the Jefferson Airplane who left the band after its first record and was replaced by Grace Slick, has died.\u003c/p>\n\u003cp>Anderson died Thursday at her home in Beaverton, Oregon, according to her daughter, Onateska Ladybug Sherwood. Anderson was 74 and had been suffering from chronic obstructive pulmonary disease. Anderson, who survived cancer in her 30s, died on the same day that another Airplane member, Paul Kantner, died.\u003c/p>\n\u003cp>Born Signe Toly in Seattle and raised in Portland, Oregon, after her parents divorced, she was a folk and jazz singer who had performed in groups since high school. She moved to San Francisco in her 20s and began appearing at a popular folk club, the Drinking Gourd. Vocalist Marty Balin heard her sing and asked her to join what became the Jefferson Airplane, which soon became a top local act and in 1966 released “The Jefferson Airplane Takes Off.” Strongly influenced by the folk-rock sound of the time, “Takes Off” was a word-of-mouth hit that combined original songs and covers, including a showcase for Anderson and her soulful contralto, “Chauffeur Blues.”\u003c/p>\n\u003cp>But by the time the album came out, Anderson had given birth to her first child and she departed after a show at the Fillmore in October 1966, a concert bootlegged for years and released officially in 2010. Given a standing ovation after Balin announced from the stage that she was leaving, Anderson told the audience, “I want you all to wear smiles and daisies and box balloons. I love you all. Thank you and goodbye.”\u003c/p>\n\u003cp>The switch from Anderson to Slick, formerly of the San Francisco group the Great Society, proved momentous for the Airplane and for rock history. Slick brought with her two future standards, “Somebody to Love” and “White Rabbit,” and a fierce vocal style and confrontational attitude. The next album, “Surrealistic Pillow,” was a landmark of psychedelic rock that made the Airplane superstars and representatives of the “San Francisco Sound.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You have to look at the priorities in your life, the reality in your life,” Anderson told radio station KGON in Portland in 2011, remembering the ordeals of bringing her baby on tour. “I had to wait in the San Francisco airport in July of 1966 for 36 hours before we got on the airplane and flew to Chicago. All the diapers were gone.”\u003c/p>\n\u003cp>“I don’t regret having left,” she added.\u003c/p>\n\u003cp>Anderson was a footnote in the Airplane’s history, but was regarded with respect and affection by fans, and stayed in touch with Kantner, Balin and other band members with whom she performed on occasion over the following decades. In one way at least she proved irreplaceable: The Airplane dropped “Chauffeur Blues” from its live shows.\u003c/p>\n\u003cp>On Facebook, bassist Jack Casady remembered her as “a real sweetheart with a terrific contralto voice.” Airplane guitarist Jorma Kaukonen wrote on his blog that Anderson was “our den mother in the early days of the Airplane” a voice of reason for “our dysfunctional little family.” Balin, writing on Facebook, imagined that she and Kantner “woke up in heaven and said ‘Hey what are you doing here? Let’s start a band.'”\u003c/p>\n\u003cp>Anderson was married twice, to Merry Prankster Jerry Anderson and to Michael Alois Ettlin, who died in 2011. She is survived by two children and three grandchildren.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Signe Toly Anderson, a vocalist and original member of the Jefferson Airplane who left the band after its first record and was replaced by Grace Slick, has died.\u003c/p>\n\u003cp>Anderson died Thursday at her home in Beaverton, Oregon, according to her daughter, Onateska Ladybug Sherwood. Anderson was 74 and had been suffering from chronic obstructive pulmonary disease. Anderson, who survived cancer in her 30s, died on the same day that another Airplane member, Paul Kantner, died.\u003c/p>\n\u003cp>Born Signe Toly in Seattle and raised in Portland, Oregon, after her parents divorced, she was a folk and jazz singer who had performed in groups since high school. She moved to San Francisco in her 20s and began appearing at a popular folk club, the Drinking Gourd. Vocalist Marty Balin heard her sing and asked her to join what became the Jefferson Airplane, which soon became a top local act and in 1966 released “The Jefferson Airplane Takes Off.” Strongly influenced by the folk-rock sound of the time, “Takes Off” was a word-of-mouth hit that combined original songs and covers, including a showcase for Anderson and her soulful contralto, “Chauffeur Blues.”\u003c/p>\n\u003cp>But by the time the album came out, Anderson had given birth to her first child and she departed after a show at the Fillmore in October 1966, a concert bootlegged for years and released officially in 2010. Given a standing ovation after Balin announced from the stage that she was leaving, Anderson told the audience, “I want you all to wear smiles and daisies and box balloons. I love you all. Thank you and goodbye.”\u003c/p>\n\u003cp>The switch from Anderson to Slick, formerly of the San Francisco group the Great Society, proved momentous for the Airplane and for rock history. Slick brought with her two future standards, “Somebody to Love” and “White Rabbit,” and a fierce vocal style and confrontational attitude. The next album, “Surrealistic Pillow,” was a landmark of psychedelic rock that made the Airplane superstars and representatives of the “San Francisco Sound.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You have to look at the priorities in your life, the reality in your life,” Anderson told radio station KGON in Portland in 2011, remembering the ordeals of bringing her baby on tour. “I had to wait in the San Francisco airport in July of 1966 for 36 hours before we got on the airplane and flew to Chicago. All the diapers were gone.”\u003c/p>\n\u003cp>“I don’t regret having left,” she added.\u003c/p>\n\u003cp>Anderson was a footnote in the Airplane’s history, but was regarded with respect and affection by fans, and stayed in touch with Kantner, Balin and other band members with whom she performed on occasion over the following decades. In one way at least she proved irreplaceable: The Airplane dropped “Chauffeur Blues” from its live shows.\u003c/p>\n\u003cp>On Facebook, bassist Jack Casady remembered her as “a real sweetheart with a terrific contralto voice.” Airplane guitarist Jorma Kaukonen wrote on his blog that Anderson was “our den mother in the early days of the Airplane” a voice of reason for “our dysfunctional little family.” Balin, writing on Facebook, imagined that she and Kantner “woke up in heaven and said ‘Hey what are you doing here? Let’s start a band.'”\u003c/p>\n\u003cp>Anderson was married twice, to Merry Prankster Jerry Anderson and to Michael Alois Ettlin, who died in 2011. She is survived by two children and three grandchildren.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Super Bowl takes place a week before the Grammys, but the big game is rivaling the awards shows with a plethora of live concerts and on-site musicians, from the Red Hot Chili Peppers and Metallica to Pharrell and Skrillex.\u003c/p>\n\u003cp>Alicia Keys, OneRepublic and the Band Perry will perform at concerts on Saturday, Friday and Thursday, respectively. Dave Matthews Band will take the stage Thursday and as part of the Sports Illustrated Experience, Iggy Azalea will perform on Friday, the same night Nick Jonas will perform at the annual “ESPN The Party.”\u003c/p>\n\u003cp>Lil Wayne and A$AP Rocky will headline the Maxim Party on Saturday, while Avicii, Elle King and Travis Scott will perform at a Rolling Stone magazine party the same night.\u003c/p>\n\u003cp>Though Super Bowl 50 will be held at Levi’s Stadium in Santa Clara, California, most of the concerts and parties will take place in San Francisco.\u003c/p>\n\u003cp>Fall Out Boy announced Monday that they will perform Friday during Verizon’s go90 Live free concert series at The Regency Ballroom. The rock band, which has performed around the Super Bowl in the past, said performing ahead of the big game gives musicians the opportunity to gain new fans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People are there and they’re hyped for the Super Bowl, so it’s a chance to win people over, which is awesome,” frontman Pete Wentz said in an interview last week.\u003c/p>\n\u003cp>Skrillex and country singer Hunter Hayes are also part of the lineup for the go90 Live, which is offering free tickets on a first-come, first-served basis at \u003ca href=\"http://www.go90.com/sanfrancisco\" target=\"_blank\" rel=\"noopener\">http://www.go90.com/sanfrancisco\u003c/a>. Hunter and Skrillex will perform on Thursday and Saturday, respectively.\u003c/p>\n\u003cp>Metallica will perform at the AT&T Park the night before the big game, where the Carolina Panthers will take on the Denver Broncos and halftime show performers include Beyoncé and Coldplay.\u003c/p>\n\u003cp>Wentz, who said he joined a fantasy football league this year but lost, said he’s rooting for both teams — sort of.\u003c/p>\n\u003cp>“If I was a 10-year-old right now, I feel like there’s no way you’re not a Cam Newton fan. He optimizes cool and he looks like he’s having fun every moment he’s playing,” he said. “But at the same time, we watched the Broncos-Patriots game with my buddies from Denver …and it was cool ’cause it was emotional for them, so maybe I’m for the Broncos a little bit for my friends.”\u003c/p>\n\u003cp>DirecTV and Pepsi are teaming up to put on shows at Pier 70, including Dave Matthews Band, Pharrell and Red Hot Chili Peppers on Thursday, Friday and Saturday nights. The Chili Peppers, who performed with Bruno Mars during the halftime show in 2014, are expected to bring out special guests during their set.\u003c/p>\n\u003cp>Snoop Dogg will host the Player’s Gala on Sunday, where he will DJ, perform and host a Super Bowl viewing party. Zac Brown Band will perform at the Bleacher Ball on Friday, and Diplo and rapper-singer-producer Future will perform at a New Era concert on Saturday night.\u003c/p>\n\u003cp>San Francisco-based Third Eye Blind will perform at the 25th annual Party with a Purpose, while actor-singer Jamie Foxx will host a SiriusXM live broadcast on Friday.\u003c/p>\n\u003cp>Wentz said he hopes to see some of his musician peers throughout the week.\u003c/p>\n\u003cp>“I always try to sneak in something. …I will watch Metallica any chance that I get,” Wentz said.\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>Online:\u003c/p>\n\u003cp>http://www.sfbaysuperbowl.com/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"title": "Pharrell, Metallica Part of Super Bowl Concerts Lineup | KQED",
"description": "The Super Bowl takes place a week before the Grammys, but the big game is rivaling the awards shows with a plethora of live concerts and on-site musicians, from the Red Hot Chili Peppers and Metallica to Pharrell and Skrillex. Alicia Keys, OneRepublic and the Band Perry will perform at concerts on Saturday, Friday and Thursday, respectively. Dave Matthews Band will take the stage Thursday and as part of the Sports Illustrated Experience, Iggy Azalea will perform on Friday, the same night Nick Jonas will perform at the annual "ESPN The Party." Lil Wayne and A$AP Rocky will headline the",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Super Bowl takes place a week before the Grammys, but the big game is rivaling the awards shows with a plethora of live concerts and on-site musicians, from the Red Hot Chili Peppers and Metallica to Pharrell and Skrillex.\u003c/p>\n\u003cp>Alicia Keys, OneRepublic and the Band Perry will perform at concerts on Saturday, Friday and Thursday, respectively. Dave Matthews Band will take the stage Thursday and as part of the Sports Illustrated Experience, Iggy Azalea will perform on Friday, the same night Nick Jonas will perform at the annual “ESPN The Party.”\u003c/p>\n\u003cp>Lil Wayne and A$AP Rocky will headline the Maxim Party on Saturday, while Avicii, Elle King and Travis Scott will perform at a Rolling Stone magazine party the same night.\u003c/p>\n\u003cp>Though Super Bowl 50 will be held at Levi’s Stadium in Santa Clara, California, most of the concerts and parties will take place in San Francisco.\u003c/p>\n\u003cp>Fall Out Boy announced Monday that they will perform Friday during Verizon’s go90 Live free concert series at The Regency Ballroom. The rock band, which has performed around the Super Bowl in the past, said performing ahead of the big game gives musicians the opportunity to gain new fans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People are there and they’re hyped for the Super Bowl, so it’s a chance to win people over, which is awesome,” frontman Pete Wentz said in an interview last week.\u003c/p>\n\u003cp>Skrillex and country singer Hunter Hayes are also part of the lineup for the go90 Live, which is offering free tickets on a first-come, first-served basis at \u003ca href=\"http://www.go90.com/sanfrancisco\" target=\"_blank\" rel=\"noopener\">http://www.go90.com/sanfrancisco\u003c/a>. Hunter and Skrillex will perform on Thursday and Saturday, respectively.\u003c/p>\n\u003cp>Metallica will perform at the AT&T Park the night before the big game, where the Carolina Panthers will take on the Denver Broncos and halftime show performers include Beyoncé and Coldplay.\u003c/p>\n\u003cp>Wentz, who said he joined a fantasy football league this year but lost, said he’s rooting for both teams — sort of.\u003c/p>\n\u003cp>“If I was a 10-year-old right now, I feel like there’s no way you’re not a Cam Newton fan. He optimizes cool and he looks like he’s having fun every moment he’s playing,” he said. “But at the same time, we watched the Broncos-Patriots game with my buddies from Denver …and it was cool ’cause it was emotional for them, so maybe I’m for the Broncos a little bit for my friends.”\u003c/p>\n\u003cp>DirecTV and Pepsi are teaming up to put on shows at Pier 70, including Dave Matthews Band, Pharrell and Red Hot Chili Peppers on Thursday, Friday and Saturday nights. The Chili Peppers, who performed with Bruno Mars during the halftime show in 2014, are expected to bring out special guests during their set.\u003c/p>\n\u003cp>Snoop Dogg will host the Player’s Gala on Sunday, where he will DJ, perform and host a Super Bowl viewing party. Zac Brown Band will perform at the Bleacher Ball on Friday, and Diplo and rapper-singer-producer Future will perform at a New Era concert on Saturday night.\u003c/p>\n\u003cp>San Francisco-based Third Eye Blind will perform at the 25th annual Party with a Purpose, while actor-singer Jamie Foxx will host a SiriusXM live broadcast on Friday.\u003c/p>\n\u003cp>Wentz said he hopes to see some of his musician peers throughout the week.\u003c/p>\n\u003cp>“I always try to sneak in something. …I will watch Metallica any chance that I get,” Wentz said.\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>Online:\u003c/p>\n\u003cp>http://www.sfbaysuperbowl.com/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Show Me Yours: Kid Koala Puppet Show at Stanford, Thrillpeddlers’ ‘Club Inferno’ and more",
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"headTitle": "Show Me Yours: Kid Koala Puppet Show at Stanford, Thrillpeddlers’ ‘Club Inferno’ and more | KQED",
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"content": "\u003cp>\u003cem>Show Me Yours is a weekly column in which Senior Arts Editor Chloe Veltman shares her picks for the Bay Area’s best bets in the performing arts.\u003c/em>\u003c/p>\n\u003cp>There are times when you wish the people behind a long-running or oft-reprised theatrical production would just cash in their chips and call it quits. The thought crosses my mind every time I see \u003cem>Phantom of the Opera\u003c/em> returning for yet another San Francisco run, or when I consider the fact that Catherine Russell, the lead actress in the astonishingly long-running off-Broadway theatrical thriller \u003cem>Perfect Crime,\u003c/em> has acted in more than 11,000 performances of the show since it debuted in 1987.\u003c/p>\n\u003cfigure id=\"attachment_11280572\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11280572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/04-e1453930209168-800x546.jpg\" alt=\"Noah Haydon and Peggy L'Eggs in Thrillpeddlers production of Club Inferno\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-1920x1310.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-960x655.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Noah Haydon and Peggy L’Eggs in Thrillpeddlers production of Club Inferno \u003ccite>(Photo: David Allen / Courtesy of Thrillpeddlers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every now and again, though, a show deserves to have a long shelf-life. That’s how I feel about \u003cem>Club Inferno\u003c/em>, a feisty glam-rock musical based on Dante’s \u003cem>Divine Comedy\u003c/em>. San Francisco’s resplendently louche Thrillpeddlers theater company, which created the show, is bringing it back to the stage for the third time since it first appeared in 2000.\u003c/p>\n\u003cp>\u003cem>Club Inferno\u003c/em> had an outing last summer, which I adored for the singability of the songs, the intelligent-kitsch sense of humor, and the bonkers energy of the performances. The musical depicts Italy’s most famous Medieval poet as a pop diva. When Dante wakes up at the Gates of Hell following a terrible accident in the middle of her high-octane club act, she winds up taking a circuitous route back to the land of the living accompanied by Virgil. On the way, they run into a host of eclectic characters including Cleopatra, Karen Carpenter and — when the duo finally reaches the final circle of hell — Judy Garland. Created by Kelly Kittell and Peter Fogel and directed by Russell Blackwood, the production features many of the original cast members and heaps of Thrillpeddlers’ characteristic hedonism. \u003cstrong>\u003cem>\u003ca href=\"https://app.arts-people.com/index.php?ticketing=thril\" target=\"_blank\" rel=\"noopener\">Club Inferno\u003c/a>\u003c/em> runs Thursday, Feb. 4 through Saturday, Mar. 5; Thrillpeddlers at The Hypnodrome, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>And here are some other lively stage goings-on to give you something to talk about this week:\u003c/p>\n\u003cfigure id=\"attachment_11280573\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11280573\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-800x528.jpg\" alt=\"S K Kerastas in Sagittarius Ponderosa at the New Conservatory Theatre Center \" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-1920x1266.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-960x633.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">S K Kerastas in Sagittarius Ponderosa at the New Conservatory Theatre Center \u003ccite>(Photo: Lisema / Courtesy of New Conservatory Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003cem>\u003ca href=\"http://www.nctcsf.org/2015-16-season/sagittarius-ponderosa\" target=\"_blank\" rel=\"noopener\">Sagittarius Ponderosa\u003c/a>\u003c/em> at New Conservatory Theatre Center, San Francisco\u003c/strong>\u003cbr>\nA young trans man is at the heart of playwright M. J. Kaufman’s world premiere play. The drama follows the story of Archer who travels back home to eastern Oregon after he finds out that his father is dying. Between dealing with his family — the members of which still insist on calling him by his former name, Angela — and having a chance meeting with a mysterious, erudite stranger, Archer learns more about his identity and roots as well as about the evolving nature of the world around him. What sets this play apart from other trans narratives is that the theme of transition is more metaphorical than literal. “I had been feeling frustrated that most queer narratives are coming-out stories and most transgender narratives are transition stories,” Kaufman is quoted as saying on the theater website \u003cem>\u003ca href=\"http://www.broadwayworld.com/san-francisco/article/FOR-THE-LOVE-OF-COMRADES-THE-KID-THING-SAGITTARIUS-PONDEROSA-and-More-Set-for-NCTCs-2015-16-Season-20150327\" target=\"_blank\" rel=\"noopener\">Broadway World\u003c/a>\u003c/em>. “I wanted to create art that would acknowledge constant change as an intrinsic part of being a person.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003cem>\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=116\" target=\"_blank\" rel=\"noopener\">Little Erik\u003c/a>\u003c/em> at Aurora Theatre, Berkeley\u003c/strong>\u003cbr>\nHenrik Ibsen wrote his play \u003cem>Little Eyolf\u003c/em> in 1894. At the time, the plotline, about a wife who supports the family while the husband stays home to write a novel and look after their kid, must have seemed crazily far-fetched. But today, the gender role-reversal feels more normal, which is in part why San Francisco dramatist, actor and director Mark Jackson became intrigued by the quirky, domestic drama. Jackson’s adaptation fully transports the action into our own times for this Aurora Theatre world premiere: Marilee Talkington plays the role of a Silicon Valley executive and Joseph Estlack takes on the part of her husband who has just returned home following a sabbatical abroad. Jackson directs. “Ibsen is really great at writing psychologically messy characters, and these characters are particularly messy,” he told the \u003cem>\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=content&id=284&type=review\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>\u003c/em> in a recent interview about the new show.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Feb. 4: Kid Koala’s \u003cem>\u003ca href=\"https://live.stanford.edu/calendar/february-2016/kid-koalas-nufonia-must-fall\" target=\"_blank\" rel=\"noopener\">Nufonia Must Fall\u003c/a>\u003c/em> at the Bing Concert Hall, Stanford\u003c/strong>\u003cbr>\nKid Koala (aka Eric San) has made a career of entertaining audiences around the globe with his turntables. He’s toured with the Beastie Boys and Radiohead. But there’s a lot more to the Canadian scratch DJ’s art practice than spinning records. His enchanting 2003 graphic novel \u003cem>Nufonia Must Fall\u003c/em> about an inept robot’s attempt to woo a busy girl with his love songs has been turned into a live show featuring puppets, live music and silent film. What’s more, the audience gets to see the production crew pulling the show together in real-time before their very eyes: puppeteers animate miniature puppets, the Afiara Quartet provides the musical accompaniment on strings and piano, and Kid Koala does his stuff on the decks. Spike Jonze collaborator and \u003cem>Her\u003c/em> Oscar nominee K. K. Barrett keeps things thrumming along in his role as director. The action, skilfully edited in the moment, comes alive on a big screen above the stage with the aid of GoPro cameras that film the scenes. The show has already gotten great reviews in cities like New York and Toronto and is attracting a big crowd to Stanford.\u003c/p>\n\u003cfigure id=\"attachment_11280574\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11280574\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine%E2%80%99s-Apollo.-Photo-Berenger-Zyla-e1453930486331-800x545.jpg\" alt=\"Rosselyn Ramirez and Raymond Tilton in Photo from George Balanchine’s Apollo.\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-1180x804.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-1920x1309.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-960x654.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rosselyn Ramirez and Raymond Tilton in Photo from George Balanchine’s Apollo. \u003ccite>(Photo: Berenger Zyla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Feb. 5 and Saturday, Feb. 6: Diablo Ballet presents \u003cem>\u003ca href=\"http://diabloballet.org/performances/\" target=\"_blank\" rel=\"noopener\">Precision and Balance\u003c/a>\u003c/em> at Del Valle Theatre, Walnut Creek\u003c/strong>\u003cbr>\nOne of the things I love about the Bay Area is that even small cities are able to sustain rarefied things like professional dance companies. Such is the case with Walnut Creek’s Diablo Ballet, which has been performing for and educating audiences in the East Bay since 1993. This week, the company is presenting the George Balanchine masterpiece \u003cem>Apollo\u003c/em>, which the iconic American choreographer described as his artistic coming of age. The program also includes Tina Kay Bohnstedt’s \u003cem>My Way\u003c/em>, a charismatic piece set to an arrangement of Frank Sinatra songs, as well as \u003cem>Milieu\u003c/em> by Robert Dekkers, which includes a live performance of a commissioned score by Daniel Berkman. And if you miss Diablo Ballet performing this weekend, the company will be showing select pieces from its repertoire on Feb. 19 and 20 at San Jose State University.\u003c/p>\n\u003cp>Also worth checking out:\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 29 – Thursday, Feb. 4: Broadway San Jose presents \u003cem>\u003ca href=\"http://broadwaysanjose.com/wizard-of-oz/\" target=\"_blank\" rel=\"noopener\">The Wizard of Oz\u003c/a>\u003c/em> at San Jose Center for the Performing Arts, San Jose\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 31: Mark Foehringer Dance Project presents \u003cem>\u003ca href=\"https://www.odcdance.org/performance.php?param=304\" target=\"_blank\" rel=\"noopener\">Body of Work\u003c/a>\u003c/em> at ODC, San Francisco\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 31: \u003ca href=\"http://www.asianart.org/campaign/lunar-new-year-2016?week=20160118\" target=\"_blank\" rel=\"noopener\">Lunar New Year Celebration\u003c/a> at the Asian Art Museum, San Francisco\u003c/strong>\u003c/p>\n\n",
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"title": "Show Me Yours: Kid Koala Puppet Show at Stanford, Thrillpeddlers’ ‘Club Inferno’ and more | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Show Me Yours is a weekly column in which Senior Arts Editor Chloe Veltman shares her picks for the Bay Area’s best bets in the performing arts.\u003c/em>\u003c/p>\n\u003cp>There are times when you wish the people behind a long-running or oft-reprised theatrical production would just cash in their chips and call it quits. The thought crosses my mind every time I see \u003cem>Phantom of the Opera\u003c/em> returning for yet another San Francisco run, or when I consider the fact that Catherine Russell, the lead actress in the astonishingly long-running off-Broadway theatrical thriller \u003cem>Perfect Crime,\u003c/em> has acted in more than 11,000 performances of the show since it debuted in 1987.\u003c/p>\n\u003cfigure id=\"attachment_11280572\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11280572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/04-e1453930209168-800x546.jpg\" alt=\"Noah Haydon and Peggy L'Eggs in Thrillpeddlers production of Club Inferno\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-1920x1310.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/04-e1453930209168-960x655.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Noah Haydon and Peggy L’Eggs in Thrillpeddlers production of Club Inferno \u003ccite>(Photo: David Allen / Courtesy of Thrillpeddlers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every now and again, though, a show deserves to have a long shelf-life. That’s how I feel about \u003cem>Club Inferno\u003c/em>, a feisty glam-rock musical based on Dante’s \u003cem>Divine Comedy\u003c/em>. San Francisco’s resplendently louche Thrillpeddlers theater company, which created the show, is bringing it back to the stage for the third time since it first appeared in 2000.\u003c/p>\n\u003cp>\u003cem>Club Inferno\u003c/em> had an outing last summer, which I adored for the singability of the songs, the intelligent-kitsch sense of humor, and the bonkers energy of the performances. The musical depicts Italy’s most famous Medieval poet as a pop diva. When Dante wakes up at the Gates of Hell following a terrible accident in the middle of her high-octane club act, she winds up taking a circuitous route back to the land of the living accompanied by Virgil. On the way, they run into a host of eclectic characters including Cleopatra, Karen Carpenter and — when the duo finally reaches the final circle of hell — Judy Garland. Created by Kelly Kittell and Peter Fogel and directed by Russell Blackwood, the production features many of the original cast members and heaps of Thrillpeddlers’ characteristic hedonism. \u003cstrong>\u003cem>\u003ca href=\"https://app.arts-people.com/index.php?ticketing=thril\" target=\"_blank\" rel=\"noopener\">Club Inferno\u003c/a>\u003c/em> runs Thursday, Feb. 4 through Saturday, Mar. 5; Thrillpeddlers at The Hypnodrome, San Francisco.\u003c/strong>\u003c/p>\n\u003cp>And here are some other lively stage goings-on to give you something to talk about this week:\u003c/p>\n\u003cfigure id=\"attachment_11280573\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11280573\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-800x528.jpg\" alt=\"S K Kerastas in Sagittarius Ponderosa at the New Conservatory Theatre Center \" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-1920x1266.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/S-K-Kerastas-Sagittarius-Ponderosa-photo-by-Lisema-e1453930358559-960x633.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">S K Kerastas in Sagittarius Ponderosa at the New Conservatory Theatre Center \u003ccite>(Photo: Lisema / Courtesy of New Conservatory Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003cem>\u003ca href=\"http://www.nctcsf.org/2015-16-season/sagittarius-ponderosa\" target=\"_blank\" rel=\"noopener\">Sagittarius Ponderosa\u003c/a>\u003c/em> at New Conservatory Theatre Center, San Francisco\u003c/strong>\u003cbr>\nA young trans man is at the heart of playwright M. J. Kaufman’s world premiere play. The drama follows the story of Archer who travels back home to eastern Oregon after he finds out that his father is dying. Between dealing with his family — the members of which still insist on calling him by his former name, Angela — and having a chance meeting with a mysterious, erudite stranger, Archer learns more about his identity and roots as well as about the evolving nature of the world around him. What sets this play apart from other trans narratives is that the theme of transition is more metaphorical than literal. “I had been feeling frustrated that most queer narratives are coming-out stories and most transgender narratives are transition stories,” Kaufman is quoted as saying on the theater website \u003cem>\u003ca href=\"http://www.broadwayworld.com/san-francisco/article/FOR-THE-LOVE-OF-COMRADES-THE-KID-THING-SAGITTARIUS-PONDEROSA-and-More-Set-for-NCTCs-2015-16-Season-20150327\" target=\"_blank\" rel=\"noopener\">Broadway World\u003c/a>\u003c/em>. “I wanted to create art that would acknowledge constant change as an intrinsic part of being a person.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003cem>\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=116\" target=\"_blank\" rel=\"noopener\">Little Erik\u003c/a>\u003c/em> at Aurora Theatre, Berkeley\u003c/strong>\u003cbr>\nHenrik Ibsen wrote his play \u003cem>Little Eyolf\u003c/em> in 1894. At the time, the plotline, about a wife who supports the family while the husband stays home to write a novel and look after their kid, must have seemed crazily far-fetched. But today, the gender role-reversal feels more normal, which is in part why San Francisco dramatist, actor and director Mark Jackson became intrigued by the quirky, domestic drama. Jackson’s adaptation fully transports the action into our own times for this Aurora Theatre world premiere: Marilee Talkington plays the role of a Silicon Valley executive and Joseph Estlack takes on the part of her husband who has just returned home following a sabbatical abroad. Jackson directs. “Ibsen is really great at writing psychologically messy characters, and these characters are particularly messy,” he told the \u003cem>\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=content&id=284&type=review\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>\u003c/em> in a recent interview about the new show.\u003c/p>\n\u003cp>\u003cstrong>Thursday, Feb. 4: Kid Koala’s \u003cem>\u003ca href=\"https://live.stanford.edu/calendar/february-2016/kid-koalas-nufonia-must-fall\" target=\"_blank\" rel=\"noopener\">Nufonia Must Fall\u003c/a>\u003c/em> at the Bing Concert Hall, Stanford\u003c/strong>\u003cbr>\nKid Koala (aka Eric San) has made a career of entertaining audiences around the globe with his turntables. He’s toured with the Beastie Boys and Radiohead. But there’s a lot more to the Canadian scratch DJ’s art practice than spinning records. His enchanting 2003 graphic novel \u003cem>Nufonia Must Fall\u003c/em> about an inept robot’s attempt to woo a busy girl with his love songs has been turned into a live show featuring puppets, live music and silent film. What’s more, the audience gets to see the production crew pulling the show together in real-time before their very eyes: puppeteers animate miniature puppets, the Afiara Quartet provides the musical accompaniment on strings and piano, and Kid Koala does his stuff on the decks. Spike Jonze collaborator and \u003cem>Her\u003c/em> Oscar nominee K. K. Barrett keeps things thrumming along in his role as director. The action, skilfully edited in the moment, comes alive on a big screen above the stage with the aid of GoPro cameras that film the scenes. The show has already gotten great reviews in cities like New York and Toronto and is attracting a big crowd to Stanford.\u003c/p>\n\u003cfigure id=\"attachment_11280574\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11280574\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine%E2%80%99s-Apollo.-Photo-Berenger-Zyla-e1453930486331-800x545.jpg\" alt=\"Rosselyn Ramirez and Raymond Tilton in Photo from George Balanchine’s Apollo.\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-1180x804.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-1920x1309.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Rosselyn-Ramirez-and-Raymond-Tilton-in-Photo-from-George-Balanchine’s-Apollo.-Photo-Berenger-Zyla-e1453930486331-960x654.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rosselyn Ramirez and Raymond Tilton in Photo from George Balanchine’s Apollo. \u003ccite>(Photo: Berenger Zyla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Feb. 5 and Saturday, Feb. 6: Diablo Ballet presents \u003cem>\u003ca href=\"http://diabloballet.org/performances/\" target=\"_blank\" rel=\"noopener\">Precision and Balance\u003c/a>\u003c/em> at Del Valle Theatre, Walnut Creek\u003c/strong>\u003cbr>\nOne of the things I love about the Bay Area is that even small cities are able to sustain rarefied things like professional dance companies. Such is the case with Walnut Creek’s Diablo Ballet, which has been performing for and educating audiences in the East Bay since 1993. This week, the company is presenting the George Balanchine masterpiece \u003cem>Apollo\u003c/em>, which the iconic American choreographer described as his artistic coming of age. The program also includes Tina Kay Bohnstedt’s \u003cem>My Way\u003c/em>, a charismatic piece set to an arrangement of Frank Sinatra songs, as well as \u003cem>Milieu\u003c/em> by Robert Dekkers, which includes a live performance of a commissioned score by Daniel Berkman. And if you miss Diablo Ballet performing this weekend, the company will be showing select pieces from its repertoire on Feb. 19 and 20 at San Jose State University.\u003c/p>\n\u003cp>Also worth checking out:\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 29 – Thursday, Feb. 4: Broadway San Jose presents \u003cem>\u003ca href=\"http://broadwaysanjose.com/wizard-of-oz/\" target=\"_blank\" rel=\"noopener\">The Wizard of Oz\u003c/a>\u003c/em> at San Jose Center for the Performing Arts, San Jose\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 31: Mark Foehringer Dance Project presents \u003cem>\u003ca href=\"https://www.odcdance.org/performance.php?param=304\" target=\"_blank\" rel=\"noopener\">Body of Work\u003c/a>\u003c/em> at ODC, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 31: \u003ca href=\"http://www.asianart.org/campaign/lunar-new-year-2016?week=20160118\" target=\"_blank\" rel=\"noopener\">Lunar New Year Celebration\u003c/a> at the Asian Art Museum, San Francisco\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "behind-the-music-bernie-sanders",
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"content": "\u003cp>In the winter of 1987, music producer \u003ca href=\"http://www.toddrlockwood.com/\" target=\"_blank\" rel=\"noopener\">Todd Lockwood\u003c/a> was on the lookout for a hot new project to grow his label. Lockwood owned the White Crow recording studio in Burlington, Vt. — and he didn’t have to look far to find his bold idea.\u003c/p>\n\u003cp>That idea? Get Bernie Sanders — then the longtime mayor of Burlington — into the studio to record a few of his favorite songs.\u003c/p>\n\u003cp>“We had this intriguing mayor, a guy who was absolutely on a mission with everything he did,” Lockwood recalls. “He was charismatic and had a powerful public image. But people didn’t really know that much about what his personal life was like. So I thought, well, here’s an opportunity to see the man behind the curtain.”\u003c/p>\n\u003cp>The result ultimately became \u003ca href=\"https://jamesnapoli.atavist.com/we-shall-overcome\" target=\"_blank\" rel=\"noopener\">We Shall Overcome\u003c/a>, the Bernie Sanders folk album.\u003c/p>\n\u003cp>But it all started with a letter to the mayor, and a meeting face to face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The very first thing he said when I sat down in his office was, ‘I have to admit to you, right up front, that this appeals to my ego’ — and we both laughed,” Lockwood says. “I mean, that was a pretty honest thing to say, under the circumstances.”\u003c/p>\n\u003cp>Once Sanders was on board, the next step was to figure out what this thing would sound like. Just a few years before that, \u003ca href=\"http://www.npr.org/artists/16782748/michael-jackson\" target=\"_blank\" rel=\"noopener\">Michael Jackson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Ritchie\u003c/a> had brought together a vast cast of musicians for \u003cem>We Are the World\u003c/em>. The album’s only single, under the same title, had recently gone multiplatinum.\u003c/p>\n\u003cp>That album made for easy inspiration for Lockwood — with one big exception.\u003c/p>\n\u003cfigure id=\"attachment_11289609\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg\" alt=\"Bernie Sanders' monologue script for the 1987 album, 'We Shall Overcome.'\" width=\"640\" height=\"853\" class=\"size-large wp-image-11289609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-960x1280.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bernie Sanders’ monologue script for the 1987 album, ‘We Shall Overcome.’ \u003ccite>(Courtesy: Todd Lockwood)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where Michael had a roomful of superstars, we were going to have a roomful of Vermonters,” Lockwood says.\u003c/p>\n\u003cp>He enlisted 30 singers and musicians to help flesh out Sanders’ handpicked list. But when he finally got Sanders behind the microphone, Lockwood noticed he had a problem.\u003c/p>\n\u003cp>“I realized pretty early on that Bernie is not a singer. That became pretty apparent right off the bat,” he says. “You know, there are certain tricks you can do to correct people’s pitch being off and stuff, but I was going, ‘This is not really the road we want to go down.’ ”\u003c/p>\n\u003cp>So, they decided to take a different tack: a “talking-blues approach,” which Lockwood says suited Sanders better.\u003c/p>\n\u003cp>Sanders himself, however, isn’t so sure.\u003c/p>\n\u003cp>“If people are thinking of voting for me for my musical capabilities — not the right reason,” Sanders told NBC’s Lester Holt earlier this week. “I have other attributes. Carrying a tune is not one of them.”\u003c/p>\n\u003cp>Lockwood is more optimistic about the presidential candidate’s music career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is someone who absolutely believes, with all of his heart, in what he’s saying,” he says. “I fully expect that if he becomes president, we will see a gold or platinum record hanging on the wall.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Behind+The+Music%3A+Bernie+Sanders&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the winter of 1987, music producer \u003ca href=\"http://www.toddrlockwood.com/\" target=\"_blank\" rel=\"noopener\">Todd Lockwood\u003c/a> was on the lookout for a hot new project to grow his label. Lockwood owned the White Crow recording studio in Burlington, Vt. — and he didn’t have to look far to find his bold idea.\u003c/p>\n\u003cp>That idea? Get Bernie Sanders — then the longtime mayor of Burlington — into the studio to record a few of his favorite songs.\u003c/p>\n\u003cp>“We had this intriguing mayor, a guy who was absolutely on a mission with everything he did,” Lockwood recalls. “He was charismatic and had a powerful public image. But people didn’t really know that much about what his personal life was like. So I thought, well, here’s an opportunity to see the man behind the curtain.”\u003c/p>\n\u003cp>The result ultimately became \u003ca href=\"https://jamesnapoli.atavist.com/we-shall-overcome\" target=\"_blank\" rel=\"noopener\">We Shall Overcome\u003c/a>, the Bernie Sanders folk album.\u003c/p>\n\u003cp>But it all started with a letter to the mayor, and a meeting face to face.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The very first thing he said when I sat down in his office was, ‘I have to admit to you, right up front, that this appeals to my ego’ — and we both laughed,” Lockwood says. “I mean, that was a pretty honest thing to say, under the circumstances.”\u003c/p>\n\u003cp>Once Sanders was on board, the next step was to figure out what this thing would sound like. Just a few years before that, \u003ca href=\"http://www.npr.org/artists/16782748/michael-jackson\" target=\"_blank\" rel=\"noopener\">Michael Jackson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Ritchie\u003c/a> had brought together a vast cast of musicians for \u003cem>We Are the World\u003c/em>. The album’s only single, under the same title, had recently gone multiplatinum.\u003c/p>\n\u003cp>That album made for easy inspiration for Lockwood — with one big exception.\u003c/p>\n\u003cfigure id=\"attachment_11289609\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg\" alt=\"Bernie Sanders' monologue script for the 1987 album, 'We Shall Overcome.'\" width=\"640\" height=\"853\" class=\"size-large wp-image-11289609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-960x1280.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bernie Sanders’ monologue script for the 1987 album, ‘We Shall Overcome.’ \u003ccite>(Courtesy: Todd Lockwood)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where Michael had a roomful of superstars, we were going to have a roomful of Vermonters,” Lockwood says.\u003c/p>\n\u003cp>He enlisted 30 singers and musicians to help flesh out Sanders’ handpicked list. But when he finally got Sanders behind the microphone, Lockwood noticed he had a problem.\u003c/p>\n\u003cp>“I realized pretty early on that Bernie is not a singer. That became pretty apparent right off the bat,” he says. “You know, there are certain tricks you can do to correct people’s pitch being off and stuff, but I was going, ‘This is not really the road we want to go down.’ ”\u003c/p>\n\u003cp>So, they decided to take a different tack: a “talking-blues approach,” which Lockwood says suited Sanders better.\u003c/p>\n\u003cp>Sanders himself, however, isn’t so sure.\u003c/p>\n\u003cp>“If people are thinking of voting for me for my musical capabilities — not the right reason,” Sanders told NBC’s Lester Holt earlier this week. “I have other attributes. Carrying a tune is not one of them.”\u003c/p>\n\u003cp>Lockwood is more optimistic about the presidential candidate’s music career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is someone who absolutely believes, with all of his heart, in what he’s saying,” he says. “I fully expect that if he becomes president, we will see a gold or platinum record hanging on the wall.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Behind+The+Music%3A+Bernie+Sanders&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The New York art world was shocked when the city’s oldest gallery abruptly closed its doors more than four years ago. A few days later, news broke that Knoedler & Company was accused of selling paintings it now admits were forgeries for millions of dollars each. The gallery and its former president face several lawsuits by angry collectors and the first trial began this week.\u003c/p>\n\u003cp>The forgeries at the center of the scandal look like masterpieces by Jackson Pollock, Willem de Kooning and other prominent abstract expressionists. They were good enough to fool experts, and even Ann Freedman, then-president of Knoedler & Company, says she was duped.\u003c/p>\n\u003cp>Her lawyer, Luke Nikas, says, “Ann Freedman believed in these paintings. She showed them to the whole art world. She showed them to experts. And she has piles and piles of letters from all of these experts informing her that the works are real.”\u003c/p>\n\u003cp>Nikas says Freedman even bought some of the paintings for her own personal collection. But the plaintiffs in this case and other pending lawsuits say Freedman overlooked glaring problems with the paintings’ backstories. The art dealer who sold the paintings to the gallery, a woman named Glafira Rosales, pleaded guilty to fraud and money laundering charges in 2013. According to Freedman, Rosales told an elaborate story involving a European collector (known only as “Mr. X”) who bought the paintings with cash in the 1950s, when he was having an affair with an assistant at two top New York galleries.\u003c/p>\n\u003cp>“It’s quite a tale, and people bought it,” says Amy Adler, who teaches art law at New York University. “I suppose the temptation would be there — not just for buyers, but, yes, even for sellers — to think they’d happened upon these magnificent, undisclosed masterpieces.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the end, Rosales admitted to selling Knoedler 40 counterfeit paintings over more than a decade. The plaintiffs argue that Freedman knew — or at least should have known — that something was amiss. It’s hardly the first time an art dealer has been accused of deliberately looking the other way.\u003c/p>\n\u003cp>Ken Perenyi is a professional art forger who wrote about his career in the book \u003ca href=\"http://www.npr.org/books/titles/159367710/caveat-emptor-the-secret-life-of-an-american-art-forger\" target=\"_blank\" rel=\"noopener\">Caveat Emptor\u003c/a>. “From over 30 years’ experience with art dealers,” he says, “I would say there most certainly are individuals out there in the trade that will turn a blind eye.”\u003c/p>\n\u003cfigure id=\"attachment_11289598\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1180x664.jpg\" alt=\"The Knoedler & Company art gallery, shown here in 2010, had been in business since before the Civil War. The gallery permanently closed its doors in 2011.\" width=\"640\" height=\"360\" class=\"size-large wp-image-11289598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Knoedler & Company art gallery, shown here in 2010, had been in business since before the Civil War. The gallery permanently closed its doors in 2011. \u003ccite>(Photo: Paul Goguen/Bloomberg via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perenyi faked thousands of 18th- and 19th- century paintings, and sold them to auction houses and art dealers. He says, “I’ve seen paintings of mine turn up in dealers’ catalogues that they had to know about it and they chose to buy it and sell it anyway.”\u003c/p>\n\u003cp>Still, everyone was surprised when a blue chip gallery like Knoedler & Company got caught peddling fakes. The gallery had been in business since before the Civil War, and even other art dealers relied on its good name. Richard Feigen is a prominent dealer on the Upper East Side. He helped broker a sale involving one of the Knoedler forgeries, but gave his commission back when the work turned out to be fake. Feigen says it’s a reminder to art dealers not to cut corners. “I think it will cause people to be much more careful, because even a name as old as Knoedler is no guarantee, obviously, that you can be sure of.”\u003c/p>\n\u003cp>The Knoedler affair should also be a wake-up call to buyers, says NYU’s Amy Adler. “A lot of these people were very sophisticated business people … but they bought art based on sort of magical, romantic stories. It’s the kind of transaction they never would have engaged in had it been a regular business deal. I don’t think that’s going to happen so much going forward. I think people have seen that you need to kick the tires.”\u003c/p>\n\u003cp>But according to Adler, kicking the tires is harder than it used to be. Copies of paintings are getting better. And as the price of art has climbed, fewer experts are willing to make public judgments about a work’s authenticity. They’re afraid of getting sued if they’re wrong, and that can be very expensive. Just ask Ann Freedman’s lawyer, Luke Nikas.\u003c/p>\n\u003cp>“The bigger the dollar amount, the bigger the mistake in the end if you get it wrong,” he says. “If this had been a painting that was purchased for $5,000, we wouldn’t be here. … This would be over.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But it was purchased for more than $8 million by a collector who \u003cem>thought\u003c/em> it was painted by Mark Rothko. The trial is expected to last several more weeks. Freedman’s lawyer says she will take the stand in her own defense. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Art+Forgery+Trial+Asks%3A+Were+Dealers+Duped%2C+Or+Did+They+Turn+A+Blind+Eye%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The New York art world was shocked when the city’s oldest gallery abruptly closed its doors more than four years ago. A few days later, news broke that Knoedler & Company was accused of selling paintings it now admits were forgeries for millions of dollars each. The gallery and its former president face several lawsuits by angry collectors and the first trial began this week.\u003c/p>\n\u003cp>The forgeries at the center of the scandal look like masterpieces by Jackson Pollock, Willem de Kooning and other prominent abstract expressionists. They were good enough to fool experts, and even Ann Freedman, then-president of Knoedler & Company, says she was duped.\u003c/p>\n\u003cp>Her lawyer, Luke Nikas, says, “Ann Freedman believed in these paintings. She showed them to the whole art world. She showed them to experts. And she has piles and piles of letters from all of these experts informing her that the works are real.”\u003c/p>\n\u003cp>Nikas says Freedman even bought some of the paintings for her own personal collection. But the plaintiffs in this case and other pending lawsuits say Freedman overlooked glaring problems with the paintings’ backstories. The art dealer who sold the paintings to the gallery, a woman named Glafira Rosales, pleaded guilty to fraud and money laundering charges in 2013. According to Freedman, Rosales told an elaborate story involving a European collector (known only as “Mr. X”) who bought the paintings with cash in the 1950s, when he was having an affair with an assistant at two top New York galleries.\u003c/p>\n\u003cp>“It’s quite a tale, and people bought it,” says Amy Adler, who teaches art law at New York University. “I suppose the temptation would be there — not just for buyers, but, yes, even for sellers — to think they’d happened upon these magnificent, undisclosed masterpieces.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, Rosales admitted to selling Knoedler 40 counterfeit paintings over more than a decade. The plaintiffs argue that Freedman knew — or at least should have known — that something was amiss. It’s hardly the first time an art dealer has been accused of deliberately looking the other way.\u003c/p>\n\u003cp>Ken Perenyi is a professional art forger who wrote about his career in the book \u003ca href=\"http://www.npr.org/books/titles/159367710/caveat-emptor-the-secret-life-of-an-american-art-forger\" target=\"_blank\" rel=\"noopener\">Caveat Emptor\u003c/a>. “From over 30 years’ experience with art dealers,” he says, “I would say there most certainly are individuals out there in the trade that will turn a blind eye.”\u003c/p>\n\u003cfigure id=\"attachment_11289598\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1180x664.jpg\" alt=\"The Knoedler & Company art gallery, shown here in 2010, had been in business since before the Civil War. The gallery permanently closed its doors in 2011.\" width=\"640\" height=\"360\" class=\"size-large wp-image-11289598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Knoedler & Company art gallery, shown here in 2010, had been in business since before the Civil War. The gallery permanently closed its doors in 2011. \u003ccite>(Photo: Paul Goguen/Bloomberg via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perenyi faked thousands of 18th- and 19th- century paintings, and sold them to auction houses and art dealers. He says, “I’ve seen paintings of mine turn up in dealers’ catalogues that they had to know about it and they chose to buy it and sell it anyway.”\u003c/p>\n\u003cp>Still, everyone was surprised when a blue chip gallery like Knoedler & Company got caught peddling fakes. The gallery had been in business since before the Civil War, and even other art dealers relied on its good name. Richard Feigen is a prominent dealer on the Upper East Side. He helped broker a sale involving one of the Knoedler forgeries, but gave his commission back when the work turned out to be fake. Feigen says it’s a reminder to art dealers not to cut corners. “I think it will cause people to be much more careful, because even a name as old as Knoedler is no guarantee, obviously, that you can be sure of.”\u003c/p>\n\u003cp>The Knoedler affair should also be a wake-up call to buyers, says NYU’s Amy Adler. “A lot of these people were very sophisticated business people … but they bought art based on sort of magical, romantic stories. It’s the kind of transaction they never would have engaged in had it been a regular business deal. I don’t think that’s going to happen so much going forward. I think people have seen that you need to kick the tires.”\u003c/p>\n\u003cp>But according to Adler, kicking the tires is harder than it used to be. Copies of paintings are getting better. And as the price of art has climbed, fewer experts are willing to make public judgments about a work’s authenticity. They’re afraid of getting sued if they’re wrong, and that can be very expensive. Just ask Ann Freedman’s lawyer, Luke Nikas.\u003c/p>\n\u003cp>“The bigger the dollar amount, the bigger the mistake in the end if you get it wrong,” he says. “If this had been a painting that was purchased for $5,000, we wouldn’t be here. … This would be over.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But it was purchased for more than $8 million by a collector who \u003cem>thought\u003c/em> it was painted by Mark Rothko. The trial is expected to last several more weeks. Freedman’s lawyer says she will take the stand in her own defense. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Art+Forgery+Trial+Asks%3A+Were+Dealers+Duped%2C+Or+Did+They+Turn+A+Blind+Eye%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Carol Burnett started making her own variety show when she was just a kid. She’d go to the movies every week with her grandmother, then would act out the scenes with her friends when she got home.\u003c/p>\n\u003cp>But when Burnett first wanted to bring her musical variety show to TV, she was told that such programs were strictly the purview of men.\u003c/p>\n\u003cp>“The network didn’t want me to do it,” she said, remembering being told that “comedy-variety is a man’s game.”\u003c/p>\n\u003cp>But Burnett changed the rules. She accepted a lifetime achievement award Saturday from the Screen Actors Guild for her six decades on screen, including her groundbreaking namesake variety show, which ran for 11 years. Tina Fey and Amy Poehler, who presented Burnett with the honors, credited her with helping to raise them.\u003c/p>\n\u003cp>Poehler said their moms taught them 90 percent of what they needed to know — “the other 10 percent was Carol.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burnett talked about how seeing all those movies with her grandmother shaped her sensibilities and career aspirations. She thanked her many colleagues on both sides of the camera.\u003c/p>\n\u003cp>“I was able to do what I did because of what they brought to the table,” she said. “Not only their talents, but their love.”\u003c/p>\n\u003cp>Burnett left the stage with her signature farewell, saying, “I’m so glad we had this time together” as she tugged on her ear.\u003c/p>\n\u003cp>Talking with reporters backstage, the 82-year-old entertainer said she longs for the sitcoms of old, like “MASH,” ”Mary Tyler Moore” and “All in the Family.”\u003c/p>\n\u003cp>“It was all clever and it holds up today,” she said. “There was no pandering to base instincts… Some of the sitcoms I see make me feel like they might be being written by teenage boys in the locker room. I’d like to see cleverness come back.”\u003c/p>\n\u003cp>But Burnett said she’s delighted by the number of women in comedy — not only those on camera, but women writing and running their own shows.\u003c/p>\n\u003cp>“It’s a beautiful way things have changed,” she said. “And I think they’re going to get better.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"excerpt": "Burnett, who once donated thousands to the UC Berkeley Graduate School of Journalism after winning a libel suit she brought against the 'National Enquirer', received a SAG a lifetime achievement award Saturday evening.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carol Burnett started making her own variety show when she was just a kid. She’d go to the movies every week with her grandmother, then would act out the scenes with her friends when she got home.\u003c/p>\n\u003cp>But when Burnett first wanted to bring her musical variety show to TV, she was told that such programs were strictly the purview of men.\u003c/p>\n\u003cp>“The network didn’t want me to do it,” she said, remembering being told that “comedy-variety is a man’s game.”\u003c/p>\n\u003cp>But Burnett changed the rules. She accepted a lifetime achievement award Saturday from the Screen Actors Guild for her six decades on screen, including her groundbreaking namesake variety show, which ran for 11 years. Tina Fey and Amy Poehler, who presented Burnett with the honors, credited her with helping to raise them.\u003c/p>\n\u003cp>Poehler said their moms taught them 90 percent of what they needed to know — “the other 10 percent was Carol.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burnett talked about how seeing all those movies with her grandmother shaped her sensibilities and career aspirations. She thanked her many colleagues on both sides of the camera.\u003c/p>\n\u003cp>“I was able to do what I did because of what they brought to the table,” she said. “Not only their talents, but their love.”\u003c/p>\n\u003cp>Burnett left the stage with her signature farewell, saying, “I’m so glad we had this time together” as she tugged on her ear.\u003c/p>\n\u003cp>Talking with reporters backstage, the 82-year-old entertainer said she longs for the sitcoms of old, like “MASH,” ”Mary Tyler Moore” and “All in the Family.”\u003c/p>\n\u003cp>“It was all clever and it holds up today,” she said. “There was no pandering to base instincts… Some of the sitcoms I see make me feel like they might be being written by teenage boys in the locker room. I’d like to see cleverness come back.”\u003c/p>\n\u003cp>But Burnett said she’s delighted by the number of women in comedy — not only those on camera, but women writing and running their own shows.\u003c/p>\n\u003cp>“It’s a beautiful way things have changed,” she said. “And I think they’re going to get better.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I was told about Marvin before I actually met him,” \u003ca href=\"http://www.fritzdreisbach.com/\" target=\"_blank\" rel=\"noopener\">Fritz Dreisbach\u003c/a>, a pioneer of the American studio glass movement, remembers of Marvin Lipofsky, a revered, Bay Area-based glass artist and educator who passed away on Jan. 15 at the age of 77.\u003c/p>\n\u003cp>Dreisbach heard about Lipofsky from Harvey Littleton, the man who launched the movement at the University of Wisconsin, Madison. There begins a story that shares more than a few similarities with the origin stories of several religions. When people talk about glass art in America, they start to use that kind of language.\u003c/p>\n\u003cp>A couple weeks after \u003ca href=\"http://www.legacy.com/obituaries/sfgate/obituary.aspx?page=lifestory&pid=177331644\" target=\"_blank\" rel=\"noopener\">Lipofsky’s passing\u003c/a>, the glass art world is still in a state of sorry shock. If Littleton started the movement, Dreisbach says, “Marvin was one of the first disciples, spreading the word about glass.”\u003c/p>\n\u003cp>Lipofsky did that in two ways: he made glass art, and he taught other people how to do it, from the very beginning. The ink was barely dry on Lipofsky’s diploma when he was hired by UC Berkeley to launch its glass program. That program didn’t last, and Lipofsky went on to launch another program at the California College of Arts and Crafts in Oakland (now the \u003ca href=\"https://www.cca.edu/academics/glass\" target=\"_blank\" rel=\"noopener\">California College of the Arts\u003c/a>). In 1968, Lipofsky started the \u003ca href=\"https://www.cca.edu/news/2013/02/14/symposium-studio-glass-50-years-california\" target=\"_blank\" rel=\"noopener\">Great California Glass Symposium\u003c/a>, and in 1971, he helped found the \u003ca href=\"http://www.glassart.org/\">Glass Art Society\u003c/a>, along with other glass artists like Dreisbach.\u003c/p>\n\u003cp>“He was the kingpin, the guy that I looked up to,” Dreisbach says, adding he and others who taught classes often modeled theirs after Lipofsky. “Most of us went into teaching, so that we could get a lot of people involved. Marvin was the international roving ambassador of glass. He did travel a lot, to conferences and symposiums around the world. He would learn something one place and take it to the next place.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lipofsky was fond of organic, biomorphic shapes with textured surfaces. He cut glass, ground it, sandblasted, and acid-washed it. Lipofsky’s \u003cem>California Loop Series\u003c/em>, begun in 1967, put the artist on the map.\u003c/p>\n\u003cfigure id=\"attachment_11283542\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11283542 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18242_02_Lipofsky-qut-800x589.jpg\" alt=\"California Loop Series #4 1970 by Marvin Lipofsky. Materials: blown glass, rayon flocking.\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18242_02_Lipofsky-qut-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18242_02_Lipofsky-qut-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18242_02_Lipofsky-qut-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18242_02_Lipofsky-qut-960x707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18242_02_Lipofsky-qut.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California Loop Series #4 1970 by Marvin Lipofsky. Materials: blown glass, rayon flocking. \u003ccite>(Courtesy SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These bulbous, fanciful, gourd-like shapes could not be confused with domestic craft. “That is sculpture. There is no function,” says Dreisbach. “They were brash. They were exciting. They stretched the imagination of what glass was all about.”\u003c/p>\n\u003cp>Lipofsky’s methods changed throughout his career, reflecting his global travels and wide-ranging curiosity. The artist developed a habit of incorporating found objects into work he created while on the road.\u003c/p>\n\u003cp>“Marvin was a total innovator,” says \u003ca href=\"http://www.stephenrolfepowell.com/\" target=\"_blank\" rel=\"noopener\">Stephen Powell\u003c/a>, a glass artist who invited Lipofsky out to talk to his classes at Centre College in Kentucky. Powell says Lipofsky was, “the best example of an artist finding his own way to work, not being shackled by tradition. Basically, he found a unique way to make glass, without having 40 years of practice in a factory, like they would do in Venice.”\u003c/p>\n\u003cp>Lipofsky’s work was featured in numerous local exhibitions over the years, including “\u003ca href=\"http://museumca.org/event/art-guild-symposium-studio-glass-50-years-california\" target=\"_blank\" rel=\"noopener\">Studio Glass: 50 Years in California\u003c/a>,” at the Oakland Museum of California.\u003c/p>\n\u003cp>In an interview for the museum, Lipofsky reflects, “When I first started, I tried to deny the beauty of the glass, painting over it and so forth. As I went along, I allowed the beauty of the glass to come through…and tried to capture what glass does as glass.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XnkWwm60T44\u003c/p>\n\u003cp>The freedom to work with glass in that way, something we take for granted now, was revolutionary at the time. “At the time, it blew people’s minds that you could create what he did with glass,” says Carin Adams, associate curator of art and material culture at the Oakland Museum. “They’re not really vessels. They’re really sculpture.”\u003c/p>\n\u003cp>Tim O’Brien worked with Lipofsky on \u003cem>\u003ca href=\"http://www.flysfo.com/museum/exhibitions/studio-glass\" target=\"_blank\" rel=\"noopener\">Studio Glass\u003c/a>,\u003c/em> an exhibition at the San Francisco Airport Museum tracing the impact of the California studio glass movement from its origins. “We really wanted a focal point for this survey, and Marvin was certainly a natural focal point as the person who launched this movement out here in Berkeley and Oakland,” O’Brien says.\u003c/p>\n\u003cp>“He was so influential in helping others understand the potential of glass,” says O’Brien. “He inspired others to follow their ideas. When you see the works, you see these beautiful and sublime forms with wonderful texture and color. You don’t think about the process that it takes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>No memorial has been planned yet for the artist. But this \u003ca href=\"https://www.facebook.com/mlipofsky/photos_stream\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> page will list details when those become available. There will also likely be additional tributes from his friends at the Glass Art Society and other collectives where Lipofsky made his mark.\u003c/p>\n\u003cfigure id=\"attachment_11283543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11283543\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18241_01_Lipofsky-qut-800x589.jpg\" alt=\"Glass Forms #56 1968 by Marvin Lipofsky. Materials: blown glass. Created in Berkeley.\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18241_01_Lipofsky-qut-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18241_01_Lipofsky-qut-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18241_01_Lipofsky-qut-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18241_01_Lipofsky-qut-960x707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18241_01_Lipofsky-qut.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Glass Forms #56 1968 by Marvin Lipofsky. Materials: blown glass. Created in Berkeley. \u003ccite>(Courtesy SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I was told about Marvin before I actually met him,” \u003ca href=\"http://www.fritzdreisbach.com/\" target=\"_blank\" rel=\"noopener\">Fritz Dreisbach\u003c/a>, a pioneer of the American studio glass movement, remembers of Marvin Lipofsky, a revered, Bay Area-based glass artist and educator who passed away on Jan. 15 at the age of 77.\u003c/p>\n\u003cp>Dreisbach heard about Lipofsky from Harvey Littleton, the man who launched the movement at the University of Wisconsin, Madison. There begins a story that shares more than a few similarities with the origin stories of several religions. When people talk about glass art in America, they start to use that kind of language.\u003c/p>\n\u003cp>A couple weeks after \u003ca href=\"http://www.legacy.com/obituaries/sfgate/obituary.aspx?page=lifestory&pid=177331644\" target=\"_blank\" rel=\"noopener\">Lipofsky’s passing\u003c/a>, the glass art world is still in a state of sorry shock. If Littleton started the movement, Dreisbach says, “Marvin was one of the first disciples, spreading the word about glass.”\u003c/p>\n\u003cp>Lipofsky did that in two ways: he made glass art, and he taught other people how to do it, from the very beginning. The ink was barely dry on Lipofsky’s diploma when he was hired by UC Berkeley to launch its glass program. That program didn’t last, and Lipofsky went on to launch another program at the California College of Arts and Crafts in Oakland (now the \u003ca href=\"https://www.cca.edu/academics/glass\" target=\"_blank\" rel=\"noopener\">California College of the Arts\u003c/a>). In 1968, Lipofsky started the \u003ca href=\"https://www.cca.edu/news/2013/02/14/symposium-studio-glass-50-years-california\" target=\"_blank\" rel=\"noopener\">Great California Glass Symposium\u003c/a>, and in 1971, he helped found the \u003ca href=\"http://www.glassart.org/\">Glass Art Society\u003c/a>, along with other glass artists like Dreisbach.\u003c/p>\n\u003cp>“He was the kingpin, the guy that I looked up to,” Dreisbach says, adding he and others who taught classes often modeled theirs after Lipofsky. “Most of us went into teaching, so that we could get a lot of people involved. Marvin was the international roving ambassador of glass. He did travel a lot, to conferences and symposiums around the world. He would learn something one place and take it to the next place.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lipofsky was fond of organic, biomorphic shapes with textured surfaces. He cut glass, ground it, sandblasted, and acid-washed it. Lipofsky’s \u003cem>California Loop Series\u003c/em>, begun in 1967, put the artist on the map.\u003c/p>\n\u003cfigure id=\"attachment_11283542\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11283542 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18242_02_Lipofsky-qut-800x589.jpg\" alt=\"California Loop Series #4 1970 by Marvin Lipofsky. Materials: blown glass, rayon flocking.\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18242_02_Lipofsky-qut-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18242_02_Lipofsky-qut-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18242_02_Lipofsky-qut-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18242_02_Lipofsky-qut-960x707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18242_02_Lipofsky-qut.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California Loop Series #4 1970 by Marvin Lipofsky. Materials: blown glass, rayon flocking. \u003ccite>(Courtesy SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These bulbous, fanciful, gourd-like shapes could not be confused with domestic craft. “That is sculpture. There is no function,” says Dreisbach. “They were brash. They were exciting. They stretched the imagination of what glass was all about.”\u003c/p>\n\u003cp>Lipofsky’s methods changed throughout his career, reflecting his global travels and wide-ranging curiosity. The artist developed a habit of incorporating found objects into work he created while on the road.\u003c/p>\n\u003cp>“Marvin was a total innovator,” says \u003ca href=\"http://www.stephenrolfepowell.com/\" target=\"_blank\" rel=\"noopener\">Stephen Powell\u003c/a>, a glass artist who invited Lipofsky out to talk to his classes at Centre College in Kentucky. Powell says Lipofsky was, “the best example of an artist finding his own way to work, not being shackled by tradition. Basically, he found a unique way to make glass, without having 40 years of practice in a factory, like they would do in Venice.”\u003c/p>\n\u003cp>Lipofsky’s work was featured in numerous local exhibitions over the years, including “\u003ca href=\"http://museumca.org/event/art-guild-symposium-studio-glass-50-years-california\" target=\"_blank\" rel=\"noopener\">Studio Glass: 50 Years in California\u003c/a>,” at the Oakland Museum of California.\u003c/p>\n\u003cp>In an interview for the museum, Lipofsky reflects, “When I first started, I tried to deny the beauty of the glass, painting over it and so forth. As I went along, I allowed the beauty of the glass to come through…and tried to capture what glass does as glass.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XnkWwm60T44'\n title='//www.youtube.com/embed/XnkWwm60T44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The freedom to work with glass in that way, something we take for granted now, was revolutionary at the time. “At the time, it blew people’s minds that you could create what he did with glass,” says Carin Adams, associate curator of art and material culture at the Oakland Museum. “They’re not really vessels. They’re really sculpture.”\u003c/p>\n\u003cp>Tim O’Brien worked with Lipofsky on \u003cem>\u003ca href=\"http://www.flysfo.com/museum/exhibitions/studio-glass\" target=\"_blank\" rel=\"noopener\">Studio Glass\u003c/a>,\u003c/em> an exhibition at the San Francisco Airport Museum tracing the impact of the California studio glass movement from its origins. “We really wanted a focal point for this survey, and Marvin was certainly a natural focal point as the person who launched this movement out here in Berkeley and Oakland,” O’Brien says.\u003c/p>\n\u003cp>“He was so influential in helping others understand the potential of glass,” says O’Brien. “He inspired others to follow their ideas. When you see the works, you see these beautiful and sublime forms with wonderful texture and color. You don’t think about the process that it takes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>No memorial has been planned yet for the artist. But this \u003ca href=\"https://www.facebook.com/mlipofsky/photos_stream\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> page will list details when those become available. There will also likely be additional tributes from his friends at the Glass Art Society and other collectives where Lipofsky made his mark.\u003c/p>\n\u003cfigure id=\"attachment_11283543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11283543\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18241_01_Lipofsky-qut-800x589.jpg\" alt=\"Glass Forms #56 1968 by Marvin Lipofsky. Materials: blown glass. Created in Berkeley.\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18241_01_Lipofsky-qut-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18241_01_Lipofsky-qut-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18241_01_Lipofsky-qut-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18241_01_Lipofsky-qut-960x707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18241_01_Lipofsky-qut.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Glass Forms #56 1968 by Marvin Lipofsky. Materials: blown glass. Created in Berkeley. \u003ccite>(Courtesy SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Light sculptor \u003ca href=\"http://villareal.net/\" target=\"_blank\" rel=\"noopener\">Leo Villareal\u003c/a> is a longtime veteran of\u003ca href=\"http://burningman.org/\" target=\"_blank\" rel=\"noopener\"> Burning Man,\u003c/a> where art work is sometimes consumed by fire as the festival ends. So he had no regrets when his massive installation on the Bay Bridge, “Bay Lights”, went dark early this year.\u003c/p>\n\u003cp>“Two years is a good long run for a monumental piece of public art,” he said.\u003c/p>\n\u003cp>But Villareal, the New York City artist who designed the lights for their run from 2013 to 2015, was thrilled when so many people begged him and the project’s funders to bring the lights back.\u003c/p>\n\u003cp>“It’s a digital campfire that brings everyone together,” Villareal said, “It brings out the best in people.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.illuminatethearts.org/\" target=\"_blank\" rel=\"noopener\">Illuminate\u003c/a>, the non-profit arts group run by Ben Davis, raised $4 million and worked with \u003ca href=\"http://www.dot.ca.gov/hq/paffairs/news/pressrel/2016/16pr007.htm\" target=\"_blank\" rel=\"noopener\">Caltrans\u003c/a> to reinstall a more robust and brighter set of LED lights — 25,000 of them — on the cables of the western span.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People want to tell me their stories of who they were with when they saw the Bay Lights,” Villareal said. “And there’s so much passion and love in it. If you can solicit that reaction with an artwork, you know, we’re on to something here.”\u003c/p>\n\u003cp>This time, the lights have been angled just a bit so that their patterns will be visible to people south as well as north of the bridge. Caltrans will pay for the upkeep, about a $250,000 a year.\u003c/p>\n\u003cfigure id=\"attachment_11283695\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11283695\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/019-1180x885.jpg\" alt=\"Lieutenant Governor Gavin Newsom (left) joined Leo Villareal to turn on the Bay Lights in March of 2013 under rainy skies\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/019-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/019-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/019-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/019-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/019-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/019-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lieutenant Governor Gavin Newsom (left) joined Leo Villareal to turn on the Bay Lights in March of 2013 under rainy skies \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lights change in random patterns, which are programmed in by Villareal on his computer and then sealed off from hackers. The patterns can look like flights of birds, falling stars, or waves on the bay. But Villareal says he doesn’t use any representational imagery.\u003c/p>\n\u003cp>“Our brains can’t help but pattern recognize,” Villareal said. “I like the slipperiness and the mystery.”\u003c/p>\n\u003cp>\u003cem>Villareal will turn the lights on again on Saturday, Jan. 30, at about 7:25pm.\u003c/em>\u003c/p>\n\u003cp>\u003cb>WATCH:\u003c/b> \u003ci>Below is the documentary ‘Impossible Light’ about the installation of the Bay Lights in 2013, \u003ca href=\"http://ww2.kqed.org/trulyca/impossible-light/\" target=\"_blank\" rel=\"noopener\">provided by Truly CA.\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MIrBQiLs6E4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Light sculptor \u003ca href=\"http://villareal.net/\" target=\"_blank\" rel=\"noopener\">Leo Villareal\u003c/a> is a longtime veteran of\u003ca href=\"http://burningman.org/\" target=\"_blank\" rel=\"noopener\"> Burning Man,\u003c/a> where art work is sometimes consumed by fire as the festival ends. So he had no regrets when his massive installation on the Bay Bridge, “Bay Lights”, went dark early this year.\u003c/p>\n\u003cp>“Two years is a good long run for a monumental piece of public art,” he said.\u003c/p>\n\u003cp>But Villareal, the New York City artist who designed the lights for their run from 2013 to 2015, was thrilled when so many people begged him and the project’s funders to bring the lights back.\u003c/p>\n\u003cp>“It’s a digital campfire that brings everyone together,” Villareal said, “It brings out the best in people.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.illuminatethearts.org/\" target=\"_blank\" rel=\"noopener\">Illuminate\u003c/a>, the non-profit arts group run by Ben Davis, raised $4 million and worked with \u003ca href=\"http://www.dot.ca.gov/hq/paffairs/news/pressrel/2016/16pr007.htm\" target=\"_blank\" rel=\"noopener\">Caltrans\u003c/a> to reinstall a more robust and brighter set of LED lights — 25,000 of them — on the cables of the western span.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People want to tell me their stories of who they were with when they saw the Bay Lights,” Villareal said. “And there’s so much passion and love in it. If you can solicit that reaction with an artwork, you know, we’re on to something here.”\u003c/p>\n\u003cp>This time, the lights have been angled just a bit so that their patterns will be visible to people south as well as north of the bridge. Caltrans will pay for the upkeep, about a $250,000 a year.\u003c/p>\n\u003cfigure id=\"attachment_11283695\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11283695\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/019-1180x885.jpg\" alt=\"Lieutenant Governor Gavin Newsom (left) joined Leo Villareal to turn on the Bay Lights in March of 2013 under rainy skies\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/019-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/019-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/019-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/019-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/019-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/019-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lieutenant Governor Gavin Newsom (left) joined Leo Villareal to turn on the Bay Lights in March of 2013 under rainy skies \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lights change in random patterns, which are programmed in by Villareal on his computer and then sealed off from hackers. The patterns can look like flights of birds, falling stars, or waves on the bay. But Villareal says he doesn’t use any representational imagery.\u003c/p>\n\u003cp>“Our brains can’t help but pattern recognize,” Villareal said. “I like the slipperiness and the mystery.”\u003c/p>\n\u003cp>\u003cem>Villareal will turn the lights on again on Saturday, Jan. 30, at about 7:25pm.\u003c/em>\u003c/p>\n\u003cp>\u003cb>WATCH:\u003c/b> \u003ci>Below is the documentary ‘Impossible Light’ about the installation of the Bay Lights in 2013, \u003ca href=\"http://ww2.kqed.org/trulyca/impossible-light/\" target=\"_blank\" rel=\"noopener\">provided by Truly CA.\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MIrBQiLs6E4'\n title='//www.youtube.com/embed/MIrBQiLs6E4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
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