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"content": "\u003cp>At the University of California Berkeley’s \u003ca href=\"http://www.ucnrs.org/reserves/sagehen-creek-field-station.html\" target=\"_blank\" rel=\"noopener\">Sagehen Creek Field Station\u003c/a> in the Eastern Sierra Nevada, small groups of plant species weather out a harsh winter under several feet of snow. There’s not much to see, let alone anything that resembles art. But hard though it may be to believe, the specimens are in fact part of the latest game-changing ecological art project by \u003ca href=\"http://theharrisonstudio.net/\" target=\"_blank\" rel=\"noopener\">Helen Mayer Harrison and Newton Harrison\u003c/a>.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/246555541″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cfigure id=\"attachment_11317173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11317173\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-800x402.jpg\" alt='One of the Harrisons many eye-catching maps: \"The Sagehen ecosystem and experimental sites\"' width=\"800\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-800x402.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-400x201.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-1180x593.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-960x482.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990.jpg 1346w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the Harrisons many eye-catching maps: “The Sagehen ecosystem and experimental sites” \u003ccite>(Photo: Courtesy of The Harrison Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Widely known as the parents of the eco-art movement, the Harrisons have become world-renowned for using art to tackle environmental problems on a massive, global scale. Over more than four decades, the Santa Cruz-based husband-and-wife team have inspired the public to get behind environmental issues, from climate change to the impact of urbanization on the ecosystem — and on occasion have even successfully helped to bring about high-level environmental policy change.\u003c/p>\n\u003cp>“These are million-square-kilometer problems,” says Newton of the issues that he and Helen address with their work.\u003cbr>\n“What we have to be concerned about is what is happening to the entire planet,” Helen says. “What we are concerned about is the survival of the people and all living things.”\u003c/p>\n\u003cp>The Harrisons’ acclaim is so great that a few years ago the Getty Research Institute and Stanford University both expressed interest in housing their archives. \u003ca href=\"https://lib.stanford.edu/art-architecture-library/four-decades-selections-helen-and-newton-harrison-papers\" target=\"_blank\" rel=\"noopener\">Stanford won\u003c/a>. “We are delighted that the Helen and Newton Harrison archive came to Stanford University,” says Peter Blank, Senior Librarian at Stanford’s Bowes Art & Architecture Library. “Their engagement with the hard questions of our day — what are our shared responsibilities on a planet fraught with ecological uncertainties — and the manner in which they integrate the arts and sciences has resulted in a remarkably rich body of work.” And now the artists, who are both in their eighties, are the subject of a kaleidoscopic book, which Random House will put out later this year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>A 50-year-long project in the Sierra Nevada\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11314288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11314288\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-800x535.jpg\" alt=\"Under deep snow at UC Berkeley Sagehen Creek Field Station in the Eastern Sierra Nevada, groups of plant species hibernate as part of a 50-year-long environmental art project implemented by The Harrisons in collaboration with scientists and members of the Washoe Tribe.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-960x642.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Under deep snow at UC Berkeley Sagehen Creek Field Station in the Eastern Sierra Nevada, groups of plant species hibernate as part of a 50-year-long environmental art project implemented by The Harrisons in collaboration with scientists and members of the Washoe Tribe. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sagehen, the Harrisons are collaborating with a small team of scientists and members of the Washoe Tribe on a 50-year-long project. It involves physically moving groups of plant species like wild rose and red fir to higher ground with the aim of helping the seedlings become resilient both to the warming effects of climate change and at different altitudes. The Sagehen investigation is part of an even bigger project, entitled \u003cem>The Force Majeure\u003c/em>, which looks at finding solutions to two problems through conducting experiments in four different parts of the world — encroaching water levels and rising temperatures.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“These are two vast forces that we have speeded up to say the least,” Newton says of co-opting the legal term “force majeure” which means a huge power that cannot be controlled, kind of like an act of god. “We consider them a force majeure. Why? G\u003c/span>\u003cspan style=\"font-weight: 400\">o ahead and stop them if you can. But there may be a counter-force on the horizon and that is what we search for.”\u003c/span>\u003c/p>\n\u003cp>The Harrisons’ deep interest in involving people of the Washoe Tribe — who for thousands of years \u003cspan style=\"font-weight: 400\">have called the Sagehen area and beyond their ancestral home\u003c/span> — adds an important dimension to the project because of the Native Americans’ deep knowledge of the local ecosystem and its indigenous species. Tribal elder Benny Fillmore says this is the first time he’s ever been asked by anyone outside of his tribe to collaborate on an art project. “I think it’s really rare in this day and age as tribal members to be given a hand in such a big project,” Fillmore says.\u003c/p>\n\u003cfigure id=\"attachment_11314392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11314392\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-800x549.jpg\" alt='UC Berkeley Sagehen Creek Field Station scientists Jeff Brown and Faerthen Felix. The scientists are collaborating with Newton and Helen Harrison on one part of their massive, global \"Force Majeure\" project. Here we see them posing in front of another site-specific art project on site at Sagehen.' width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-400x274.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-1180x809.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-1920x1317.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-960x658.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">UC Berkeley Sagehen Creek Field Station managers Jeff Brown and Faerthen Felix. Sagehen is collaborating with Newton and Helen Harrison on one part of their massive, global “Force Majeure” project. Here we see them posing in front of another site-specific art project on site at Sagehen, “Invisible Barn”. \u003ccite>(Photo: Chloe Veltman/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Harrisons’ ability to connect people and ideas that normally wouldn’t come into contact with one another is one of their greatest assets. Sagehen field station manager, Faerthen Felix, says the station’s relationship with the Harrisons is helping to find a wider audience for important but usually dry scientific data. “The problem is that science is by nature a non-emotional process,” Felix says. “You have to be dispassionate. The data has to speak for itself. But that’s not what humans are like. Emotion is what drives us. And emotion is the raw material that artists use.”\u003c/p>\n\u003cp>Felix’s colleague, Jeff Brown, says the Harrisons’ art — for instance, the huge, colorful, topographical maps they create for many of their projects — helps transform cold science into a meaningful story. “They’re allowed to get visceral,” Brown says. “They’re allowed to get emotive. They’re allowed to connect with people in ways science just can’t.”\u003c/p>\n\u003cp>\u003cstrong>Shaping environmental policy in Holland\u003c/strong>\u003c/p>\n\u003cp>This quality has enabled the Harrisons to shape environmental policy. In the mid-1990s, a branch of the Dutch government challenged the artists to solve an enormous urban planning problem: how to build hundreds of thousands of new houses while protecting the country’s lush green lowlands. The Harrisons created beautiful aerial landscape videos to bewitch the initially skeptical officials. They also audaciously exhibited a big map of Holland — printed backwards. “The planners got mad at us and they said, ‘Why have you done this?’ Newton recalls. “And we said, ‘Well you’re planning your country backwards, so we printed your map backwards.’”\u003c/p>\n\u003cfigure id=\"attachment_11318892\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11318892\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1.jpg\" alt=\"To get their message across to the Dutch authorities, the Harrisons audaciously created and exhibited a map of Holland --printed backwards \" width=\"600\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1-400x323.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">To get their message across to the Dutch authorities, the Harrisons audaciously created and exhibited a map of Holland –printed backwards \u003ccite>(Courtesy: The Harrison Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It wasn’t that easy to convince the politicians,” says Adriaan De Regt, who was a cultural official for South Holland at the time the Harrisons undertook their \u003cem>\u003ca href=\"http://theharrisonstudio.net/?page_id=534\" target=\"_blank\" rel=\"noopener\">Green Heart of Holland\u003c/a>\u003c/em> project. “It took some time before they saw that the plan from the Harrisons was a good idea.”\u003c/p>\n\u003cp>The American couple eventually won over the Dutch officials, who adopted their vision. Bill Fox, who runs the \u003ca href=\"https://www.nevadaart.org/ae/\" target=\"_blank\" rel=\"noopener\">Center for Art and the Environment at the Museum of Nevada\u003c/a> and has worked closely with the Harrisons in recent years, says the Harrisons’ work is persuasive because it successfully bridges the worlds of politics and science. “They create these beautiful maps and poetic texts, and do these exhibitions about the problem that really creates empathy for a place,” Fox says. “Once you begin to care about place, you will care about what happens to that place.”\u003c/p>\n\u003cp>\u003cstrong>Fomenting environmental activism in San Diego\u003c/strong>\u003c/p>\n\u003cp>The Harrisons first met in 1950 at Helen’s family farm in Connecticut. Newton was a budding sculptor still in his teens, and Helen, a few years his senior, a teacher, philosopher and student of English literature. The couple didn’t formally start working on art projects together until 1969, when they both landed jobs at the University of California, San Diego. Newton taught art and Helen ran educational programs.\u003c/p>\n\u003cp>It was a combination of biological research and the publication of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Silent_Spring\" target=\"_blank\" rel=\"noopener\">Silent Spring\u003c/a>\u003c/em>, Rachel Carson’s seminal book about environmental destruction, that pushed them towards working on art projects in service of the environment together. “We made a decision to do no work that didn’t benefit the ecology, as neither of us could face that alone,” says Newton. “That’s how our collaboration began.”\u003c/p>\n\u003cp>\u003cstrong>Electrocuting catfish in London\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11317170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11317170\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/8-2R-800x531.jpg\" alt=\"People exploring the Harrisons' "Portable Fish Farm" installation in 1971\" width=\"800\" height=\"531\">\u003cfigcaption class=\"wp-caption-text\">People exploring the Harrisons’ “Portable Fish Farm” installation in 1971 \u003ccite>(Photo: Courtesy of Ronald Feldman Fine Arts, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes the couple’s art has gotten them into trouble. In 1971, the Harrisons were part of a high-profile exhibition at London’s Hayward Gallery. For their \u003ca href=\"http://theharrisonstudio.net/?page_id=192\" target=\"_blank\" rel=\"noopener\">installation about the sustainability of farming practices\u003c/a>, they electrocuted catfish and made stew for museumgoers. It caused an uproar. Helen says that although the fish were humanely killed, many people couldn’t see past the shock value. “People wanted the government to cancel our show,” she says. The tabloid press went berserk. Newton lights up at the memory. “Helen made a weird version of bouillabaisse,” he says. “It smelled so good that nobody went to the other exhibitions.”\u003c/p>\n\u003cp>Composer Edward Lambert even turned the debacle into a chamber opera entitled \u003cem>\u003ca href=\"http://www.tete-a-tete.org.uk/catfish-conundrum/\" target=\"_blank\" rel=\"noopener\">The Catfish Conundrum\u003c/a>\u003c/em> two years ago, with Newton Harrison and the catfish among the characters represented on stage.\u003c/p>\n\u003cp>\u003cem>Watch a video of the entire opera, performed in 2014 by The Music Troupe of London:\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Catfish Conundrum\" src=\"https://player.vimeo.com/video/113147541?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>It wasn’t just audiences that balked at the Harrisons’ work in the early days. Because of the couple’s scientific leanings, the art establishment was also fairly hostile towards them in the early years. “It took a while for museums to decide that artists could work in these fields and be artists,” says the Harrisons’ longtime New York dealer Ronald Feldman. “So they had a rough road to get attention for their work as artwork.”\u003c/p>\n\u003cp>Today, things are different. The Harrisons’ maps, videos and other visual artifacts can fetch up to hundreds of thousands of dollars on the art market, according to Feldman. And Newton and Helen are considered trailblazers. “Many artists work very well with the sciences,” Feldman says. “Newton and Helen have opened that door for everybody.”\u003c/p>\n\u003cp>The Harrisons aren’t as mobile as they used to be and Helen’s health is particularly fragile. They’re still doggedly focused on their ecological mission, though Newton cautions it’s not up to him and Helen to save the Earth. “You need a big community,” he says. “And that community is slowly forming and the question is will it form quickly enough? Or is mass extinction a fact?”\u003c/p>\n\u003cfigure id=\"attachment_11318771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11318771\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-800x549.png\" alt=\"Helen Mayer Harrison and Newton Harrison with Laura and Benny Fillmore of the Washoe Tribe\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-400x275.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-768x527.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-960x659.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663.png 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helen Mayer Harrison and Newton Harrison with Benny Fillmore of the Washoe Tribe and his daughter, Helen. \u003ccite>(Photo: Courtesy of Laura Fillmore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the University of California Berkeley’s \u003ca href=\"http://www.ucnrs.org/reserves/sagehen-creek-field-station.html\" target=\"_blank\" rel=\"noopener\">Sagehen Creek Field Station\u003c/a> in the Eastern Sierra Nevada, small groups of plant species weather out a harsh winter under several feet of snow. There’s not much to see, let alone anything that resembles art. But hard though it may be to believe, the specimens are in fact part of the latest game-changing ecological art project by \u003ca href=\"http://theharrisonstudio.net/\" target=\"_blank\" rel=\"noopener\">Helen Mayer Harrison and Newton Harrison\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/246555541″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/246555541″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_11317173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11317173\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-800x402.jpg\" alt='One of the Harrisons many eye-catching maps: \"The Sagehen ecosystem and experimental sites\"' width=\"800\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-800x402.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-400x201.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-1180x593.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990-960x482.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Force-Majeure-pg-35-e1455159873990.jpg 1346w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the Harrisons many eye-catching maps: “The Sagehen ecosystem and experimental sites” \u003ccite>(Photo: Courtesy of The Harrison Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Widely known as the parents of the eco-art movement, the Harrisons have become world-renowned for using art to tackle environmental problems on a massive, global scale. Over more than four decades, the Santa Cruz-based husband-and-wife team have inspired the public to get behind environmental issues, from climate change to the impact of urbanization on the ecosystem — and on occasion have even successfully helped to bring about high-level environmental policy change.\u003c/p>\n\u003cp>“These are million-square-kilometer problems,” says Newton of the issues that he and Helen address with their work.\u003cbr>\n“What we have to be concerned about is what is happening to the entire planet,” Helen says. “What we are concerned about is the survival of the people and all living things.”\u003c/p>\n\u003cp>The Harrisons’ acclaim is so great that a few years ago the Getty Research Institute and Stanford University both expressed interest in housing their archives. \u003ca href=\"https://lib.stanford.edu/art-architecture-library/four-decades-selections-helen-and-newton-harrison-papers\" target=\"_blank\" rel=\"noopener\">Stanford won\u003c/a>. “We are delighted that the Helen and Newton Harrison archive came to Stanford University,” says Peter Blank, Senior Librarian at Stanford’s Bowes Art & Architecture Library. “Their engagement with the hard questions of our day — what are our shared responsibilities on a planet fraught with ecological uncertainties — and the manner in which they integrate the arts and sciences has resulted in a remarkably rich body of work.” And now the artists, who are both in their eighties, are the subject of a kaleidoscopic book, which Random House will put out later this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A 50-year-long project in the Sierra Nevada\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11314288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11314288\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-800x535.jpg\" alt=\"Under deep snow at UC Berkeley Sagehen Creek Field Station in the Eastern Sierra Nevada, groups of plant species hibernate as part of a 50-year-long environmental art project implemented by The Harrisons in collaboration with scientists and members of the Washoe Tribe.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4027-e1455067190306-960x642.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Under deep snow at UC Berkeley Sagehen Creek Field Station in the Eastern Sierra Nevada, groups of plant species hibernate as part of a 50-year-long environmental art project implemented by The Harrisons in collaboration with scientists and members of the Washoe Tribe. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sagehen, the Harrisons are collaborating with a small team of scientists and members of the Washoe Tribe on a 50-year-long project. It involves physically moving groups of plant species like wild rose and red fir to higher ground with the aim of helping the seedlings become resilient both to the warming effects of climate change and at different altitudes. The Sagehen investigation is part of an even bigger project, entitled \u003cem>The Force Majeure\u003c/em>, which looks at finding solutions to two problems through conducting experiments in four different parts of the world — encroaching water levels and rising temperatures.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“These are two vast forces that we have speeded up to say the least,” Newton says of co-opting the legal term “force majeure” which means a huge power that cannot be controlled, kind of like an act of god. “We consider them a force majeure. Why? G\u003c/span>\u003cspan style=\"font-weight: 400\">o ahead and stop them if you can. But there may be a counter-force on the horizon and that is what we search for.”\u003c/span>\u003c/p>\n\u003cp>The Harrisons’ deep interest in involving people of the Washoe Tribe — who for thousands of years \u003cspan style=\"font-weight: 400\">have called the Sagehen area and beyond their ancestral home\u003c/span> — adds an important dimension to the project because of the Native Americans’ deep knowledge of the local ecosystem and its indigenous species. Tribal elder Benny Fillmore says this is the first time he’s ever been asked by anyone outside of his tribe to collaborate on an art project. “I think it’s really rare in this day and age as tribal members to be given a hand in such a big project,” Fillmore says.\u003c/p>\n\u003cfigure id=\"attachment_11314392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11314392\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-800x549.jpg\" alt='UC Berkeley Sagehen Creek Field Station scientists Jeff Brown and Faerthen Felix. The scientists are collaborating with Newton and Helen Harrison on one part of their massive, global \"Force Majeure\" project. Here we see them posing in front of another site-specific art project on site at Sagehen.' width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-400x274.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-1180x809.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-1920x1317.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4017-e1455067971122-960x658.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">UC Berkeley Sagehen Creek Field Station managers Jeff Brown and Faerthen Felix. Sagehen is collaborating with Newton and Helen Harrison on one part of their massive, global “Force Majeure” project. Here we see them posing in front of another site-specific art project on site at Sagehen, “Invisible Barn”. \u003ccite>(Photo: Chloe Veltman/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Harrisons’ ability to connect people and ideas that normally wouldn’t come into contact with one another is one of their greatest assets. Sagehen field station manager, Faerthen Felix, says the station’s relationship with the Harrisons is helping to find a wider audience for important but usually dry scientific data. “The problem is that science is by nature a non-emotional process,” Felix says. “You have to be dispassionate. The data has to speak for itself. But that’s not what humans are like. Emotion is what drives us. And emotion is the raw material that artists use.”\u003c/p>\n\u003cp>Felix’s colleague, Jeff Brown, says the Harrisons’ art — for instance, the huge, colorful, topographical maps they create for many of their projects — helps transform cold science into a meaningful story. “They’re allowed to get visceral,” Brown says. “They’re allowed to get emotive. They’re allowed to connect with people in ways science just can’t.”\u003c/p>\n\u003cp>\u003cstrong>Shaping environmental policy in Holland\u003c/strong>\u003c/p>\n\u003cp>This quality has enabled the Harrisons to shape environmental policy. In the mid-1990s, a branch of the Dutch government challenged the artists to solve an enormous urban planning problem: how to build hundreds of thousands of new houses while protecting the country’s lush green lowlands. The Harrisons created beautiful aerial landscape videos to bewitch the initially skeptical officials. They also audaciously exhibited a big map of Holland — printed backwards. “The planners got mad at us and they said, ‘Why have you done this?’ Newton recalls. “And we said, ‘Well you’re planning your country backwards, so we printed your map backwards.’”\u003c/p>\n\u003cfigure id=\"attachment_11318892\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11318892\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1.jpg\" alt=\"To get their message across to the Dutch authorities, the Harrisons audaciously created and exhibited a map of Holland --printed backwards \" width=\"600\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Green_Heart_LEFT_SIDE-1-400x323.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">To get their message across to the Dutch authorities, the Harrisons audaciously created and exhibited a map of Holland –printed backwards \u003ccite>(Courtesy: The Harrison Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It wasn’t that easy to convince the politicians,” says Adriaan De Regt, who was a cultural official for South Holland at the time the Harrisons undertook their \u003cem>\u003ca href=\"http://theharrisonstudio.net/?page_id=534\" target=\"_blank\" rel=\"noopener\">Green Heart of Holland\u003c/a>\u003c/em> project. “It took some time before they saw that the plan from the Harrisons was a good idea.”\u003c/p>\n\u003cp>The American couple eventually won over the Dutch officials, who adopted their vision. Bill Fox, who runs the \u003ca href=\"https://www.nevadaart.org/ae/\" target=\"_blank\" rel=\"noopener\">Center for Art and the Environment at the Museum of Nevada\u003c/a> and has worked closely with the Harrisons in recent years, says the Harrisons’ work is persuasive because it successfully bridges the worlds of politics and science. “They create these beautiful maps and poetic texts, and do these exhibitions about the problem that really creates empathy for a place,” Fox says. “Once you begin to care about place, you will care about what happens to that place.”\u003c/p>\n\u003cp>\u003cstrong>Fomenting environmental activism in San Diego\u003c/strong>\u003c/p>\n\u003cp>The Harrisons first met in 1950 at Helen’s family farm in Connecticut. Newton was a budding sculptor still in his teens, and Helen, a few years his senior, a teacher, philosopher and student of English literature. The couple didn’t formally start working on art projects together until 1969, when they both landed jobs at the University of California, San Diego. Newton taught art and Helen ran educational programs.\u003c/p>\n\u003cp>It was a combination of biological research and the publication of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Silent_Spring\" target=\"_blank\" rel=\"noopener\">Silent Spring\u003c/a>\u003c/em>, Rachel Carson’s seminal book about environmental destruction, that pushed them towards working on art projects in service of the environment together. “We made a decision to do no work that didn’t benefit the ecology, as neither of us could face that alone,” says Newton. “That’s how our collaboration began.”\u003c/p>\n\u003cp>\u003cstrong>Electrocuting catfish in London\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11317170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11317170\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/8-2R-800x531.jpg\" alt=\"People exploring the Harrisons' "Portable Fish Farm" installation in 1971\" width=\"800\" height=\"531\">\u003cfigcaption class=\"wp-caption-text\">People exploring the Harrisons’ “Portable Fish Farm” installation in 1971 \u003ccite>(Photo: Courtesy of Ronald Feldman Fine Arts, New York)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes the couple’s art has gotten them into trouble. In 1971, the Harrisons were part of a high-profile exhibition at London’s Hayward Gallery. For their \u003ca href=\"http://theharrisonstudio.net/?page_id=192\" target=\"_blank\" rel=\"noopener\">installation about the sustainability of farming practices\u003c/a>, they electrocuted catfish and made stew for museumgoers. It caused an uproar. Helen says that although the fish were humanely killed, many people couldn’t see past the shock value. “People wanted the government to cancel our show,” she says. The tabloid press went berserk. Newton lights up at the memory. “Helen made a weird version of bouillabaisse,” he says. “It smelled so good that nobody went to the other exhibitions.”\u003c/p>\n\u003cp>Composer Edward Lambert even turned the debacle into a chamber opera entitled \u003cem>\u003ca href=\"http://www.tete-a-tete.org.uk/catfish-conundrum/\" target=\"_blank\" rel=\"noopener\">The Catfish Conundrum\u003c/a>\u003c/em> two years ago, with Newton Harrison and the catfish among the characters represented on stage.\u003c/p>\n\u003cp>\u003cem>Watch a video of the entire opera, performed in 2014 by The Music Troupe of London:\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Catfish Conundrum\" src=\"https://player.vimeo.com/video/113147541?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>It wasn’t just audiences that balked at the Harrisons’ work in the early days. Because of the couple’s scientific leanings, the art establishment was also fairly hostile towards them in the early years. “It took a while for museums to decide that artists could work in these fields and be artists,” says the Harrisons’ longtime New York dealer Ronald Feldman. “So they had a rough road to get attention for their work as artwork.”\u003c/p>\n\u003cp>Today, things are different. The Harrisons’ maps, videos and other visual artifacts can fetch up to hundreds of thousands of dollars on the art market, according to Feldman. And Newton and Helen are considered trailblazers. “Many artists work very well with the sciences,” Feldman says. “Newton and Helen have opened that door for everybody.”\u003c/p>\n\u003cp>The Harrisons aren’t as mobile as they used to be and Helen’s health is particularly fragile. They’re still doggedly focused on their ecological mission, though Newton cautions it’s not up to him and Helen to save the Earth. “You need a big community,” he says. “And that community is slowly forming and the question is will it form quickly enough? Or is mass extinction a fact?”\u003c/p>\n\u003cfigure id=\"attachment_11318771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11318771\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-800x549.png\" alt=\"Helen Mayer Harrison and Newton Harrison with Laura and Benny Fillmore of the Washoe Tribe\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-400x275.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-768x527.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663-960x659.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/fillmores-and-harrisons-e1455212925663.png 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helen Mayer Harrison and Newton Harrison with Benny Fillmore of the Washoe Tribe and his daughter, Helen. \u003ccite>(Photo: Courtesy of Laura Fillmore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "For the Love of Art: Bay Area-Themed Valentines for 2016",
"headTitle": "For the Love of Art: Bay Area-Themed Valentines for 2016 | KQED",
"content": "\u003cp>Valentine’s Day is upon us once again. And in the Bay Area, if you’ve had time to buy Valentine’s gifts, then you’re not working hard enough.\u003c/p>\n\u003cp>Last year we commissioned \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/got-you-covered-valentines-day-cards-for-the-bay-area/\" target=\"_blank\" rel=\"noopener\">six Bay Area-themed valentines from six different local artists\u003c/a> and the results were phenomenal. This year we worked with five artists — one from last year and four new ones — to bring you six more valentines that are just as fantastic.\u003c/p>\n\u003cp>Please share with your art-loving friends…or your lazy ones who you know won’t have their sh*t together in time for the big day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317055\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/KQED-ventines-day.jpg\" alt=\"KQED ventines day\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>First is “I left my art in San Francisco” by San Francisco’s own Aaron Zonka, an artist with large portfolio of paintings, comics and even concert flyers. You can see his work at \u003ca href=\"http://aaronzonka.com/\" target=\"_blank\" rel=\"noopener\">aaronzonka.com.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317056\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine.jpg\" alt=\"MikaylaButchart_valentine\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>A Santa Rosa native and a long-time resident of San Francisco’s Russian Hill, Mikayla Butchart provided us this valentine while she’s earning her MFA in illustration at the School of Visual Arts (but her heart is still in San Francisco). See more of her work at \u003ca href=\"http://www.mikaylabutchart.com/\" target=\"_blank\" rel=\"noopener\">mikaylabutchart.com.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317057\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/seal-of-approval.jpg\" alt=\"seal of approval\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Painter, illustrator, and designer Rebecca Silvers, a San Francisco native, provided us with this “Seal of Approval.” Check out more of her work at \u003ca href=\"http://rebeccasilvers.weebly.com/\" target=\"_blank\" rel=\"noopener\">rebeccasilvers.com\u003c/a>. (She also happens to be the sister of KQED Pop reporter \u003ca href=\"http://ww2.kqed.org/pop/author/esilvers/\" target=\"_blank\" rel=\"noopener\">Emma Silvers\u003c/a>.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/caneedsrain2.jpg\" alt=\"caneedsrain2\" width=\"627\" height=\"849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2-400x542.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2-443x600.jpg 443w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003c/p>\n\u003cp>And then we have the return of Jeff Meadows, local artist and sign painter, who provided us with “I Totes Love You” last year and “California Needs Rain” this year (though thankfully we are finally getting some damn rain.) More of his work can be seen at \u003ca href=\"http://jeff-meadows.com/\" target=\"_blank\" rel=\"noopener\">jeff-meadows.com.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Fog-heart.jpg\" alt=\"Fog heart\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>These next two cards are from Katherine Streeter, a New York City-based collage artist who has been illustrating for various markets worldwide for a long time, and can be seen in publications like \u003cem>American Illustration\u003c/em>, \u003cem>Communication Arts\u003c/em>, and \u003cem>3×3 Illustration Annual\u003c/em>. (She also provided collages for KQED’s \u003ca href=\"http://ww2.kqed.org/news/category/arts-and-culture/love-in-the-digital-age\" target=\"_blank\" rel=\"noopener\">\u003ci>Love in the Digital Age\u003c/i>\u003c/a> podcast.) See more of her work at \u003ca href=\"http://katherinestreeter.tumblr.com/\" target=\"_blank\" rel=\"noopener\">katherinestreeter.tumblr.com\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317058\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/The-Rock.jpg\" alt=\"The Rock\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>If you would like to create a Valentine for 2017, please email \u003ca href=\"mailto:kjones@kqed.org\" target=\"_blank\" rel=\"noopener\">kjones(at)kqed.org\u003c/a> with “Valentine 2017” in the subject.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Valentine’s Day is upon us once again. And in the Bay Area, if you’ve had time to buy Valentine’s gifts, then you’re not working hard enough.\u003c/p>\n\u003cp>Last year we commissioned \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/got-you-covered-valentines-day-cards-for-the-bay-area/\" target=\"_blank\" rel=\"noopener\">six Bay Area-themed valentines from six different local artists\u003c/a> and the results were phenomenal. This year we worked with five artists — one from last year and four new ones — to bring you six more valentines that are just as fantastic.\u003c/p>\n\u003cp>Please share with your art-loving friends…or your lazy ones who you know won’t have their sh*t together in time for the big day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317055\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/KQED-ventines-day.jpg\" alt=\"KQED ventines day\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/KQED-ventines-day-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>First is “I left my art in San Francisco” by San Francisco’s own Aaron Zonka, an artist with large portfolio of paintings, comics and even concert flyers. You can see his work at \u003ca href=\"http://aaronzonka.com/\" target=\"_blank\" rel=\"noopener\">aaronzonka.com.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317056\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine.jpg\" alt=\"MikaylaButchart_valentine\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MikaylaButchart_valentine-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>A Santa Rosa native and a long-time resident of San Francisco’s Russian Hill, Mikayla Butchart provided us this valentine while she’s earning her MFA in illustration at the School of Visual Arts (but her heart is still in San Francisco). See more of her work at \u003ca href=\"http://www.mikaylabutchart.com/\" target=\"_blank\" rel=\"noopener\">mikaylabutchart.com.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317057\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/seal-of-approval.jpg\" alt=\"seal of approval\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/seal-of-approval-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Painter, illustrator, and designer Rebecca Silvers, a San Francisco native, provided us with this “Seal of Approval.” Check out more of her work at \u003ca href=\"http://rebeccasilvers.weebly.com/\" target=\"_blank\" rel=\"noopener\">rebeccasilvers.com\u003c/a>. (She also happens to be the sister of KQED Pop reporter \u003ca href=\"http://ww2.kqed.org/pop/author/esilvers/\" target=\"_blank\" rel=\"noopener\">Emma Silvers\u003c/a>.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/caneedsrain2.jpg\" alt=\"caneedsrain2\" width=\"627\" height=\"849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2-400x542.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/caneedsrain2-443x600.jpg 443w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003c/p>\n\u003cp>And then we have the return of Jeff Meadows, local artist and sign painter, who provided us with “I Totes Love You” last year and “California Needs Rain” this year (though thankfully we are finally getting some damn rain.) More of his work can be seen at \u003ca href=\"http://jeff-meadows.com/\" target=\"_blank\" rel=\"noopener\">jeff-meadows.com.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Fog-heart.jpg\" alt=\"Fog heart\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Fog-heart-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>These next two cards are from Katherine Streeter, a New York City-based collage artist who has been illustrating for various markets worldwide for a long time, and can be seen in publications like \u003cem>American Illustration\u003c/em>, \u003cem>Communication Arts\u003c/em>, and \u003cem>3×3 Illustration Annual\u003c/em>. (She also provided collages for KQED’s \u003ca href=\"http://ww2.kqed.org/news/category/arts-and-culture/love-in-the-digital-age\" target=\"_blank\" rel=\"noopener\">\u003ci>Love in the Digital Age\u003c/i>\u003c/a> podcast.) See more of her work at \u003ca href=\"http://katherinestreeter.tumblr.com/\" target=\"_blank\" rel=\"noopener\">katherinestreeter.tumblr.com\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11317058\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/The-Rock.jpg\" alt=\"The Rock\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/The-Rock-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>If you would like to create a Valentine for 2017, please email \u003ca href=\"mailto:kjones@kqed.org\" target=\"_blank\" rel=\"noopener\">kjones(at)kqed.org\u003c/a> with “Valentine 2017” in the subject.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "\"Happy Birthday\" Lawsuit Settles, Song Will Enter Public Domain",
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"content": "\u003cp>In an\u003ca href=\"http://www.gq.com/story/justin-bieber-gq-interview?mbid=social_twitter\" target=\"_blank\"> excellent GQ profile\u003c/a> out today, Justin Bieber took the time to remind us all of his birthday, March 1. The perpetually remorseful pop star will be turning 22 next month, but if you want to serenade him with a special YouTube or Instagram video, you should probably wait two weeks afterward to be safe: \u003cspan style=\"line-height: 1.5\">March 14, 2016 will mark the first official day that you can't get hit with a copyright infringement suit for broadcasting a recorded performance of \"Happy Birthday to You.\"\u003c/span>\u003c/p>\n\u003cp>Yes, one of the weirder legal battles of our time has come to an end. The birthday song, a tune most children learn by the time they're 3 years old, will finally enter the public domain.\u003c/p>\n\u003cp>“Happy Birthday to You” was originally written in 1893, by sisters Patty and Mildred Hill. Patty, a kindergarten teacher, said she came up with the song as a \"good morning\" tune for school children; the birthday-specific lyrics were added as an optional verse.\u003c/p>\n\u003cp>Their copyright expired in 1949. Music publisher \u003ca href=\"http://www.warnerchappell.com/song-details/WW001266210000\" target=\"_blank\">Warner/Chappell music\u003c/a> acquired it in 1988 -- and since then has collected about $2 million in royalties a year. (Think about how often you hear the song in movies and on TV. Yeah. It's a lot.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EqolSvoWNck\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As \u003ca href=\"http://ww2.kqed.org/arts/2015/09/15/a-smoking-gun-in-the-case-of-who-owns-happy-birthday-to-you/\" target=\"_blank\">KQED reported last fall\u003c/a>, Bay Area band Rupya and the April Fishes were among the artists who got hit with the reality of said royalties after they wanted to include the song on a live album recorded during a show they performed at the Independent. The show took place on singer Rupya Marya's birthday, and the band -- and audience -- surprised her with a sing-along. But to include the track on the record, Marya discovered, she'd have to pay $455 in royalties.\u003c/p>\n\u003cp>That's when she joined LA filmmaker Jennifer Nelson's class-action lawsuit against the music publisher. The suit's lead plaintiff, Nelson first brought the suit in 2013 after she was charged $1500 to use said song in a documentary she was making about it.\u003c/p>\n\u003cp>A judge ruled in Nelson's favor last year, but Warner/Chappell held to their claim on a couple of wonky technicalities (a separate, 1935 copyright agreement) until \u003ca href=\"http://www.nytimes.com/2016/02/10/business/media/details-of-happy-birthday-copyright-settlement-revealed.html\" target=\"_blank\">settling this week\u003c/a>. The publisher has agreed to pay out some $14 million to people who've paid to use the song.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.documentcloud.org/documents/2706567-Birthday-Settlmemo.html\" target=\"_blank\">memorandum\u003c/a> in support of the settlement adds the following proclamation and/or warning, depending on how you feel about the song to begin with:\u003c/p>\n\u003cp>\"Because Defendants have charged for use of the Song, untold thousands of people chose not to use the Song in their own performances and artistic works or to perform the Song in public. After the settlement is approved, that restraint will be removed and the song will be performed and used far more often than it has been in the past.\"\u003c/p>\n\u003cp>Worth noting: There is nothing in said settlement about performers having to be in tune.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an\u003ca href=\"http://www.gq.com/story/justin-bieber-gq-interview?mbid=social_twitter\" target=\"_blank\"> excellent GQ profile\u003c/a> out today, Justin Bieber took the time to remind us all of his birthday, March 1. The perpetually remorseful pop star will be turning 22 next month, but if you want to serenade him with a special YouTube or Instagram video, you should probably wait two weeks afterward to be safe: \u003cspan style=\"line-height: 1.5\">March 14, 2016 will mark the first official day that you can't get hit with a copyright infringement suit for broadcasting a recorded performance of \"Happy Birthday to You.\"\u003c/span>\u003c/p>\n\u003cp>Yes, one of the weirder legal battles of our time has come to an end. The birthday song, a tune most children learn by the time they're 3 years old, will finally enter the public domain.\u003c/p>\n\u003cp>“Happy Birthday to You” was originally written in 1893, by sisters Patty and Mildred Hill. Patty, a kindergarten teacher, said she came up with the song as a \"good morning\" tune for school children; the birthday-specific lyrics were added as an optional verse.\u003c/p>\n\u003cp>Their copyright expired in 1949. Music publisher \u003ca href=\"http://www.warnerchappell.com/song-details/WW001266210000\" target=\"_blank\">Warner/Chappell music\u003c/a> acquired it in 1988 -- and since then has collected about $2 million in royalties a year. (Think about how often you hear the song in movies and on TV. Yeah. It's a lot.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EqolSvoWNck'\n title='//www.youtube.com/embed/EqolSvoWNck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As \u003ca href=\"http://ww2.kqed.org/arts/2015/09/15/a-smoking-gun-in-the-case-of-who-owns-happy-birthday-to-you/\" target=\"_blank\">KQED reported last fall\u003c/a>, Bay Area band Rupya and the April Fishes were among the artists who got hit with the reality of said royalties after they wanted to include the song on a live album recorded during a show they performed at the Independent. The show took place on singer Rupya Marya's birthday, and the band -- and audience -- surprised her with a sing-along. But to include the track on the record, Marya discovered, she'd have to pay $455 in royalties.\u003c/p>\n\u003cp>That's when she joined LA filmmaker Jennifer Nelson's class-action lawsuit against the music publisher. The suit's lead plaintiff, Nelson first brought the suit in 2013 after she was charged $1500 to use said song in a documentary she was making about it.\u003c/p>\n\u003cp>A judge ruled in Nelson's favor last year, but Warner/Chappell held to their claim on a couple of wonky technicalities (a separate, 1935 copyright agreement) until \u003ca href=\"http://www.nytimes.com/2016/02/10/business/media/details-of-happy-birthday-copyright-settlement-revealed.html\" target=\"_blank\">settling this week\u003c/a>. The publisher has agreed to pay out some $14 million to people who've paid to use the song.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.documentcloud.org/documents/2706567-Birthday-Settlmemo.html\" target=\"_blank\">memorandum\u003c/a> in support of the settlement adds the following proclamation and/or warning, depending on how you feel about the song to begin with:\u003c/p>\n\u003cp>\"Because Defendants have charged for use of the Song, untold thousands of people chose not to use the Song in their own performances and artistic works or to perform the Song in public. After the settlement is approved, that restraint will be removed and the song will be performed and used far more often than it has been in the past.\"\u003c/p>\n\u003cp>Worth noting: There is nothing in said settlement about performers having to be in tune.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The ministers at the St. John Coltrane Church in San Francisco’s Fillmore District started an online petition last week to pressure city officials into helping the church stay in the city, where it’s been since 1969.\u003c/p>\n\u003cp>The church, which bills itself as “the oldest and only church born out of the music of John Coltrane,” reports that its lease is up at its current location on 1286 Fillmore St. According to the petition, the church’s landlords — the owners of the West Bay Conference Center — want to double the church’s rent, leaving ministers with their “backs against the wall.”\u003c/p>\n\u003cp>“The present political climate of profit over people continues to devastate the African American population of the Fillmore, leaving the ‘Coltrane Church’ to stand alone as the sole historic proprietors of the music and culture of jazz as a means to enlighten,” the church’s ministers \u003ca href=\"https://www.change.org/p/west-bay-confrence-center-london-breed-edwin-lee-nadia-sesay-hands-off-the-coltrane-church\" target=\"_blank\" rel=\"noopener\">wrote in their petition\u003c/a>.\u003c/p>\n\u003cp>“The San Francisco Fillmore district, formerly known as the ‘Harlem of the West,’ and the African American population in the district of ‘The Fillmore’ contributed to the culture of blues, jazz and gospel music. Presently the population and culture of the African American community has all been but destroyed, along with its learning institutions, churches and venues of musical expression. The Coltrane Church has and will continue its stance against this kind of injustice.”\u003c/p>\n\u003cp>Started by Franzo and Marina King, the \u003ca href=\"http://www.coltranechurch.org/\" target=\"_blank\" rel=\"noopener\">Saint John Will I Am Coltrane African Orthodox Church\u003c/a> was originally called the Yardbird Temple after the couple turned their jazz club into a religious organization following the saxophone legend’s death (or “Ascension”) in 1967. The couple say they had an “effectual transference of the Holy Ghost through sound” when watching Coltrane perform for the first time in San Francisco back in 1965 and have been preaching the power of his music ever since.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After meeting Coltrane’s wife, Alice, in 1974, the Kings “began to think of John Coltrane’s message in the context of spiritual universalism and to understand how John Coltrane was trying to reach souls even outside of western Christian context,” according to the \u003ca href=\"http://www.coltranechurch.org/#history\" target=\"_blank\" rel=\"noopener\">church’s website\u003c/a>.\u003c/p>\n\u003cp>Changing its name to One Mind Temple in 1971 and later to the Vendantic Center, the church became the Saint John Will I Am Coltrane African Orthodox Church after the Kings joined the African Orthodox Church in 1982. Two years later, Franco King would become an archbishop of the church and Marina would become the supreme mother reverend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The church ends every Sunday mass with a meditation on Coltrane’s \u003ci>A Love Supreme,\u003c/i> and provides food and clothing to the needy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The ministers at the St. John Coltrane Church in San Francisco’s Fillmore District started an online petition last week to pressure city officials into helping the church stay in the city, where it’s been since 1969.\u003c/p>\n\u003cp>The church, which bills itself as “the oldest and only church born out of the music of John Coltrane,” reports that its lease is up at its current location on 1286 Fillmore St. According to the petition, the church’s landlords — the owners of the West Bay Conference Center — want to double the church’s rent, leaving ministers with their “backs against the wall.”\u003c/p>\n\u003cp>“The present political climate of profit over people continues to devastate the African American population of the Fillmore, leaving the ‘Coltrane Church’ to stand alone as the sole historic proprietors of the music and culture of jazz as a means to enlighten,” the church’s ministers \u003ca href=\"https://www.change.org/p/west-bay-confrence-center-london-breed-edwin-lee-nadia-sesay-hands-off-the-coltrane-church\" target=\"_blank\" rel=\"noopener\">wrote in their petition\u003c/a>.\u003c/p>\n\u003cp>“The San Francisco Fillmore district, formerly known as the ‘Harlem of the West,’ and the African American population in the district of ‘The Fillmore’ contributed to the culture of blues, jazz and gospel music. Presently the population and culture of the African American community has all been but destroyed, along with its learning institutions, churches and venues of musical expression. The Coltrane Church has and will continue its stance against this kind of injustice.”\u003c/p>\n\u003cp>Started by Franzo and Marina King, the \u003ca href=\"http://www.coltranechurch.org/\" target=\"_blank\" rel=\"noopener\">Saint John Will I Am Coltrane African Orthodox Church\u003c/a> was originally called the Yardbird Temple after the couple turned their jazz club into a religious organization following the saxophone legend’s death (or “Ascension”) in 1967. The couple say they had an “effectual transference of the Holy Ghost through sound” when watching Coltrane perform for the first time in San Francisco back in 1965 and have been preaching the power of his music ever since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After meeting Coltrane’s wife, Alice, in 1974, the Kings “began to think of John Coltrane’s message in the context of spiritual universalism and to understand how John Coltrane was trying to reach souls even outside of western Christian context,” according to the \u003ca href=\"http://www.coltranechurch.org/#history\" target=\"_blank\" rel=\"noopener\">church’s website\u003c/a>.\u003c/p>\n\u003cp>Changing its name to One Mind Temple in 1971 and later to the Vendantic Center, the church became the Saint John Will I Am Coltrane African Orthodox Church after the Kings joined the African Orthodox Church in 1982. Two years later, Franco King would become an archbishop of the church and Marina would become the supreme mother reverend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The church ends every Sunday mass with a meditation on Coltrane’s \u003ci>A Love Supreme,\u003c/i> and provides food and clothing to the needy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice\" target=\"_blank\" rel=\"noopener\">Vanishing Ice: Alpine and Polar Landscapes in Art, 1775-2002\u003c/a>\u003c/em>, a new exhibition at the David Brower Center in Berkeley, explores the way artists since the late 18th century have depicted the frozen parts of our planet. It’s a show that forces people to stop seeing the polar ice caps as bleak, alien landscapes, and instead as delicate ecosystems full of life and color -– all of it under threat as a result of climate change.\u003c/p>\n\u003cp>The show features a couple of Bay Area artists, including photographer \u003ca href=\"http://www.camilleseaman.com/\" target=\"_blank\" rel=\"noopener\">Camille Seaman\u003c/a> of Richmond. Seaman didn’t start out as a climate change activist. As a member of a small Native American tribe on the East Coast called the Shinnecock, Seaman grew up with a healthy respect for nature. But she might have never visited the Arctic if it weren’t for a fortuitous offer from Alaska Airlines when she was flying out of Oakland back in the 1990s: The airline offered the artist a free flight anywhere in its network in exchange for being bumped from a flight. Yes, airlines used to offer that perk.\u003c/p>\n\u003cp>“I was like, alright, I’ll do it,” says Seaman, who lives in Richmond. “I think a lot of people are offered that chance, but they never actually use the ticket.”\u003c/p>\n\u003cp>At least, not the way Seaman used it. She chose one of the most remote places Alaska Airlines flies: Kotzebue, a tiny city on the far western coast of Alaska, not far from Siberia.\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" style=\"padding-left: 100px\" align=\"left\">[googlemaps https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d25670037.166096758!2d161.63446142787365!3d66.87781448240352!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x50cd16e62470ba35%3A0x4e402d9312ad1bb5!2sKotzebue%2C+AK+99752!5e0!3m2!1sen!2sus!4v1452209621080&w=630&h=450]\u003c/div>\n\u003cp>“I chose Kotzebue because it’s situated on the supposed Bering land bridge,” Seaman says. “I was curious about this idea that we had migrated over this land bridge during the last ice age and somehow populated America.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seaman had no idea she was embarking on a 16-year love affair with the Arctic, and then the Antarctic, too. \u003cspan style=\"line-height: 1.5\">“There are no two icebergs alike,” Seaman says. “They have their own unique personalities. Some do kind of glow like that. Others are like ‘Eeeeeh. Don’t look at me! I’m having a bad ice day!’ They have so much personality.”\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/rmyrow/where-the-ice-ends-and-the-sea-begins?si=56c1e826906246d8bb02a13e6967a853&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">\u003cstrong>Hear more about Seaman’s Adventures on Ice.\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Seaman’s photos of icebergs are spectacular, jaw-dropping meditations in shades of blue and gray. The ice often looks lit from within, beckoning the viewer to step inside the photograph. The artist obtained access to parts of the world most people don’t go by traveling with polar expeditions, photographing penguins, icebergs, and over time, climate change, along the way.\u003c/p>\n\u003cp>“There’s no place for apathy anymore,” Seaman says, her voice trembling with emotion. What started on a whim for the artist became a passion, and then a cause. “I think for too long we’ve allowed ourselves as citizens of this planet to think that it’s a right to be able to do what we want to it.”\u003c/p>\n\u003cp>Seaman’s photo “Grand Pinnacle,” is just one of the striking pieces in \u003cem>\u003ca href=\"http://www.vanishing-ice.org\" target=\"_blank\" rel=\"noopener\">Vanishing Ice\u003c/a>\u003c/em>, a traveling exhibition from Washington State that covers more than 200 years of artistic engagement with Arctic and alpine landscapes.\u003c/p>\n\u003cp>The curator, Dr. Barbara Matilsky of the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in Bellingham, Washington, has spent a lot of her career thinking about the way artists like Seaman have followed the work of scientists and popularized their research, “getting people to appreciate the beauty and majesty of these regions,” as she puts it, “so that they would be inspired to protect them.”\u003c/p>\n\u003cp>The original exhibition, featuring 80 works from artists all over the world, premiered at the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in March 2014, and has continued on to \u003ca href=\"http://www.elpasoartmuseum.org/\" target=\"_blank\" rel=\"noopener\">The El Paso Museum of Art\u003c/a> and the \u003ca href=\"http://www.mcmichael.com/\" target=\"_blank\" rel=\"noopener\">McMicael Canadian Art Collection\u003c/a> in Kleinburg, Ontario.\u003c/p>\n\u003cp>As with Seaman’s body of work, \u003cem>Vanishing Ice\u003c/em> also serves as a record of climate change over the centuries, showing audiences what the world looked like even before cameras came along. “It’s an ‘a ha!’ moment when you see these works,” Matilsky says, “because it becomes very clear that this is just not these sporadic events happening here and there, but the actual results of this climatic phenomenon.”\u003c/p>\n\u003cp>The David Brower Center in Berkeley is presenting an abbreviated version of the exhibition, featuring around 25 works. But the venue is also hosting a series of \u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice/events\" target=\"_blank\" rel=\"noopener\">related events\u003c/a>, like a talk with Matilsky in February, and an evening of music with \u003ca href=\"http://www.otherminds.org/\" target=\"_blank\" rel=\"noopener\">Other Minds\u003c/a> in May, featuring San Francisco composer \u003ca href=\"http://www.allwaysnorth.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Leonard\u003c/a>.\u003c/p>\n\u003cp>Leonard has written several pieces using natural objects found in polar regions that will be performed at the concert . In \u003cem>Melt Water\u003c/em>, her instruments are icicles, hung so as to drip into scientific glass ware.\u003c/p>\n\u003cp>Like Seaman, Leonard sees her work as a form of documentation, as well as art. “The sonic landscape in these places will change and perhaps these sounds will become extinct,” Leonard says.\u003c/p>\n\u003cp>Stanford University Professor \u003ca href=\"http://climatepublicopinion.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Jon Krosnick\u003c/a>, who’s studied American attitudes about climate change for two decades, believes that Americans are really starting to understand the impact of global warming.\u003c/p>\n\u003cp>“We’re used to seeing the country split 50-50 on many issues,” Krosnick says. “In about 25 surveys, conducted over two decades, most people believe the earth has been growing warmer over the last century. Between about 75 and 80 percent of Americans say they believe that’s probably been happening.”\u003c/p>\n\u003cp>Museum curators reflect this shift in awareness, in part, reflecting the interest of artists they build shows around. It’s hard to spit without hitting an exhibition that touches on climate change. Some, like the one at 1337 Gallery in San Rafael, are simply called \u003ca href=\"http://www.artworksdowntown.org/exhibits/current/1337-current\" target=\"_blank\" rel=\"noopener\">Climate Change\u003c/a>. Others, like \u003ca href=\"http://hammer.ucla.edu/exhibitions/2015/the-idea-of-north-the-paintings-of-lawren-harris/\" target=\"_blank\" rel=\"noopener\">The Idea of North\u003c/a>, just finished at the Hammer Museum in Los Angeles, broadly hint at the subject.\u003c/p>\n\u003cp>Can these public conversations move people to take meaningful action? Krosnick is optimistic in this regard. “The world’s most important photographs are typically pictures that powerfully communicate the agony of people far away from us in a way that makes it human,” Krosnick says. “That highlights the potential for artists to activate our emotions in ways that make a real difference in how we think about very concrete, very everyday issues.”\u003c/p>\n\u003cp>\u003cstrong>More Icebergs, Including One That Rolls\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://embed-ssl.ted.com/talks/camille_seaman_haunting_photos_of_ice.html\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice\" target=\"_blank\" rel=\"noopener\">Vanishing Ice: Alpine and Polar Landscapes in Art, 1775-2002\u003c/a>\u003c/em>, a new exhibition at the David Brower Center in Berkeley, explores the way artists since the late 18th century have depicted the frozen parts of our planet. It’s a show that forces people to stop seeing the polar ice caps as bleak, alien landscapes, and instead as delicate ecosystems full of life and color -– all of it under threat as a result of climate change.\u003c/p>\n\u003cp>The show features a couple of Bay Area artists, including photographer \u003ca href=\"http://www.camilleseaman.com/\" target=\"_blank\" rel=\"noopener\">Camille Seaman\u003c/a> of Richmond. Seaman didn’t start out as a climate change activist. As a member of a small Native American tribe on the East Coast called the Shinnecock, Seaman grew up with a healthy respect for nature. But she might have never visited the Arctic if it weren’t for a fortuitous offer from Alaska Airlines when she was flying out of Oakland back in the 1990s: The airline offered the artist a free flight anywhere in its network in exchange for being bumped from a flight. Yes, airlines used to offer that perk.\u003c/p>\n\u003cp>“I was like, alright, I’ll do it,” says Seaman, who lives in Richmond. “I think a lot of people are offered that chance, but they never actually use the ticket.”\u003c/p>\n\u003cp>At least, not the way Seaman used it. She chose one of the most remote places Alaska Airlines flies: Kotzebue, a tiny city on the far western coast of Alaska, not far from Siberia.\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" style=\"padding-left: 100px\" align=\"left\">\u003c/p>\u003cp>\u003ciframe\n src='https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d25670037.166096758!2d161.63446142787365!3d66.87781448240352!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x50cd16e62470ba35%3A0x4e402d9312ad1bb5!2sKotzebue%2C+AK+99752!5e0!3m2!1sen!2sus!4v1452209621080&w=630&h=450'\n title='https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d25670037.166096758!2d161.63446142787365!3d66.87781448240352!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x50cd16e62470ba35%3A0x4e402d9312ad1bb5!2sKotzebue%2C+AK+99752!5e0!3m2!1sen!2sus!4v1452209621080&w=630&h=450'\n width='630'\n height='450'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/div>\n\u003cp>“I chose Kotzebue because it’s situated on the supposed Bering land bridge,” Seaman says. “I was curious about this idea that we had migrated over this land bridge during the last ice age and somehow populated America.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seaman had no idea she was embarking on a 16-year love affair with the Arctic, and then the Antarctic, too. \u003cspan style=\"line-height: 1.5\">“There are no two icebergs alike,” Seaman says. “They have their own unique personalities. Some do kind of glow like that. Others are like ‘Eeeeeh. Don’t look at me! I’m having a bad ice day!’ They have so much personality.”\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/rmyrow/where-the-ice-ends-and-the-sea-begins?si=56c1e826906246d8bb02a13e6967a853&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">\u003cstrong>Hear more about Seaman’s Adventures on Ice.\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Seaman’s photos of icebergs are spectacular, jaw-dropping meditations in shades of blue and gray. The ice often looks lit from within, beckoning the viewer to step inside the photograph. The artist obtained access to parts of the world most people don’t go by traveling with polar expeditions, photographing penguins, icebergs, and over time, climate change, along the way.\u003c/p>\n\u003cp>“There’s no place for apathy anymore,” Seaman says, her voice trembling with emotion. What started on a whim for the artist became a passion, and then a cause. “I think for too long we’ve allowed ourselves as citizens of this planet to think that it’s a right to be able to do what we want to it.”\u003c/p>\n\u003cp>Seaman’s photo “Grand Pinnacle,” is just one of the striking pieces in \u003cem>\u003ca href=\"http://www.vanishing-ice.org\" target=\"_blank\" rel=\"noopener\">Vanishing Ice\u003c/a>\u003c/em>, a traveling exhibition from Washington State that covers more than 200 years of artistic engagement with Arctic and alpine landscapes.\u003c/p>\n\u003cp>The curator, Dr. Barbara Matilsky of the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in Bellingham, Washington, has spent a lot of her career thinking about the way artists like Seaman have followed the work of scientists and popularized their research, “getting people to appreciate the beauty and majesty of these regions,” as she puts it, “so that they would be inspired to protect them.”\u003c/p>\n\u003cp>The original exhibition, featuring 80 works from artists all over the world, premiered at the \u003ca href=\"https://whatcommuseum.org/\" target=\"_blank\" rel=\"noopener\">Whatcom Museum\u003c/a> in March 2014, and has continued on to \u003ca href=\"http://www.elpasoartmuseum.org/\" target=\"_blank\" rel=\"noopener\">The El Paso Museum of Art\u003c/a> and the \u003ca href=\"http://www.mcmichael.com/\" target=\"_blank\" rel=\"noopener\">McMicael Canadian Art Collection\u003c/a> in Kleinburg, Ontario.\u003c/p>\n\u003cp>As with Seaman’s body of work, \u003cem>Vanishing Ice\u003c/em> also serves as a record of climate change over the centuries, showing audiences what the world looked like even before cameras came along. “It’s an ‘a ha!’ moment when you see these works,” Matilsky says, “because it becomes very clear that this is just not these sporadic events happening here and there, but the actual results of this climatic phenomenon.”\u003c/p>\n\u003cp>The David Brower Center in Berkeley is presenting an abbreviated version of the exhibition, featuring around 25 works. But the venue is also hosting a series of \u003ca href=\"http://www.browercenter.org/exhibitions/vanishing-ice/events\" target=\"_blank\" rel=\"noopener\">related events\u003c/a>, like a talk with Matilsky in February, and an evening of music with \u003ca href=\"http://www.otherminds.org/\" target=\"_blank\" rel=\"noopener\">Other Minds\u003c/a> in May, featuring San Francisco composer \u003ca href=\"http://www.allwaysnorth.com/\" target=\"_blank\" rel=\"noopener\">Cheryl Leonard\u003c/a>.\u003c/p>\n\u003cp>Leonard has written several pieces using natural objects found in polar regions that will be performed at the concert . In \u003cem>Melt Water\u003c/em>, her instruments are icicles, hung so as to drip into scientific glass ware.\u003c/p>\n\u003cp>Like Seaman, Leonard sees her work as a form of documentation, as well as art. “The sonic landscape in these places will change and perhaps these sounds will become extinct,” Leonard says.\u003c/p>\n\u003cp>Stanford University Professor \u003ca href=\"http://climatepublicopinion.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Jon Krosnick\u003c/a>, who’s studied American attitudes about climate change for two decades, believes that Americans are really starting to understand the impact of global warming.\u003c/p>\n\u003cp>“We’re used to seeing the country split 50-50 on many issues,” Krosnick says. “In about 25 surveys, conducted over two decades, most people believe the earth has been growing warmer over the last century. Between about 75 and 80 percent of Americans say they believe that’s probably been happening.”\u003c/p>\n\u003cp>Museum curators reflect this shift in awareness, in part, reflecting the interest of artists they build shows around. It’s hard to spit without hitting an exhibition that touches on climate change. Some, like the one at 1337 Gallery in San Rafael, are simply called \u003ca href=\"http://www.artworksdowntown.org/exhibits/current/1337-current\" target=\"_blank\" rel=\"noopener\">Climate Change\u003c/a>. Others, like \u003ca href=\"http://hammer.ucla.edu/exhibitions/2015/the-idea-of-north-the-paintings-of-lawren-harris/\" target=\"_blank\" rel=\"noopener\">The Idea of North\u003c/a>, just finished at the Hammer Museum in Los Angeles, broadly hint at the subject.\u003c/p>\n\u003cp>Can these public conversations move people to take meaningful action? Krosnick is optimistic in this regard. “The world’s most important photographs are typically pictures that powerfully communicate the agony of people far away from us in a way that makes it human,” Krosnick says. “That highlights the potential for artists to activate our emotions in ways that make a real difference in how we think about very concrete, very everyday issues.”\u003c/p>\n\u003cp>\u003cstrong>More Icebergs, Including One That Rolls\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Dating in a Post-Privacy World",
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"content": "\u003cp>We live in an age of oversharing. Depending on your level of tolerance, perhaps you’ve just come to accept that too many people know too much about you, and sigh with resignation every time a family member or friend posts a photo of you with a double chin, or the dreaded red eye, or hoisting a pint at the bar when you told your boss you were home sick that day.\u003c/p>\n\u003cp>Privacy? Boundaries? Those went out with the advent of social media.\u003c/p>\n\u003cp>But some things require privacy to thrive. I’m not talking about illegal behavior, per se. There’s something about sex, love, even marriage, that prefers the candlelit corner, and not just because low lighting is so forgiving. Posting about everything -- the first date, the last fight -- can wound or kill a romantic relationship.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/14/LITDApodcastlogo.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/love-in-the-digital-age/id1037051180?mt=2\">Subscribe in iTunes\u003c/a>\u003c/h3>\n\u003cp>Don't miss an episode of 'Love in the Digital Age'\u003c/p>\n\u003c/div>\n\u003cp>\u003cem>Love in the Digital Age\u003c/em> sat down with Rico Gagliano recently. He’s co-host of the radio show and podcast \u003ca href=\"http://www.dinnerpartydownload.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\"Dinner Party Download,\"\u003c/a> and while he wouldn’t claim to be the World’s Foremost Expert on Love -- who would? -- he’s had some experience having his personal life dragged out into the limelight for review and discussion.\u003c/p>\n\u003cp>“We all on some level understand, whether we consciously acknowledge it or not, know the way that people behave in their public lives may not necessarily jive with the way that they behave in their private lives,” Gagliano says. “Those are two different universes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a perfect world, your private life would be yours to enjoy, observed only by those you choose to share it with. Right. Some of us are old enough to remember when that was possible. The choice today is not whether to document our private lives online, but how.\u003c/p>\n\u003cfigure id=\"attachment_10861524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10861524 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-800x449.jpg\" alt=\"“People think of the social media world as just an expansion of their normal social lives in some way, but it isn’t, to me,” says Rico Gagliano.\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-1440x809.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“People think of the social media world as just an expansion of their normal social lives in some way, but it isn’t, to me,” says Rico Gagliano. \u003ccite>(Katherine Streeter for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are plenty of people who look at my Facebook page who are not my close friends,\" Gagliano says. I don’t want to tell them about my relationships, or have them know exactly what I’m doing with my significant other. And yet, I feel like there’s the expectation that you do that.”\u003c/p>\n\u003cp>He’s not just speaking about the madding crowd he's friended over the years. He’s speaking about girlfriends, who expect to post -- or have posted -- a steady stream of sunny photos about meals in restaurants, weekend trips, and “\u003ca href=\"http://www.businessinsider.com/selfies-are-dead-its-all-about-the-usie-now-2014-1\" target=\"_blank\" rel=\"noopener noreferrer\">usies\u003c/a>” at various spots around town. If you refuse to post, or to allow others to post, “then what is that saying about your relationship?\"\u003c/p>\n\u003caside class=\"pullquote alignright\">'Are you trying to keep that relationship on the down low? You don’t want anyone to know that we’re dating? You want me to be your dirty little secret?'\u003c/aside>\n\u003cp>You can, of course, set specific limits on who sees what on Facebook, or evade older generations by seeking out younger social media networks like SnapChat. But unless you go off the grid entirely, your privacy strategy will never be better than partial.\u003c/p>\n\u003cp>Some people say Millennials, having grown up with the expectation there is no privacy, do better at proactively self-censoring than older generations, but there's a limit to how much of yourself you can hold back in the search for love.\u003c/p>\n\u003cp>\u003cstrong>An Early Lesson in Love Online\u003c/strong>\u003c/p>\n\u003cp>Back in the early 2000s, Gagliano was enthusiastically involved with a platform called \u003ca href=\"http://www.livejournal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Live Journal\u003c/a>. That is to say, he hung out with a group of people who blogged on it, read what others wrote on it and dated each other.\u003c/p>\n\u003cp>“I was on Live Journal,” say Gagliano. “My girlfriend was on Live Journal. We dated, and then we broke up. That was fine. We were still friends. Many months later, I started dating somebody else who was also on Live Journal and was friends with all of us, including my ex.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"Kfo8j15BfaTtV778Jwzc55k9CalAykEQ\"]\u003c/p>\n\u003cp>Gagliano went to a movie with his ex. “We were still friends.” At the time, he thought there would be no need to tell the new woman, because he had just started seeing her, especially if he had no interest in rekindling a romantic relationship with his ex. “All it’s going to do is cause problems,” he thought.\u003c/p>\n\u003cp>He didn’t anticipate that his ex would post about the evening on her Live Journal. It didn’t help that she mentioned what a good time they had and how much she wished they were still together. “This girl that I’ve just started dating sees that I’ve gone out with my ex. And she’s like, ‘Why didn’t you tell me?’ ” You don't need to follow Gagliano's Facebook feed to guess how things progressed from there.\u003c/p>\n\u003cfigure id=\"attachment_10861523\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg class=\"wp-image-10861523\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RS18408_Rico-qut-400x400.jpg\" alt=\"This photo “cunningly doesn't show my who face,” says Rico Gagliano, "the better to protect my public anonymity. It shows the top of my head with a portrait of William Howard Taft, with whom I insist I have never had a relationship."\" width=\"250\" height=\"250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut.jpg 912w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">This photo “cunningly doesn't show my who face,” says Rico Gagliano, \"the better to protect my public anonymity. It shows the top of my head with a portrait of William Howard Taft, with whom I insist I have never had a relationship.\" \u003ccite>(Courtesy Rico Gagliano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That episode may not have been the most painful thing he's experienced, but it did make Gagliano keenly aware some people are always watching him. Even though we’re talking about his friends, family and yes, exes, it doesn’t make that oversight feel less intrusive. There is always a camera somewhere, documenting your search for love in the digital age.\u003c/p>\n\u003cp>“To what extent do you have any control anymore?” Gagliano asks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This podcast features music by K. Flay (“It's Strange”) and the Candyland Remix of the same.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in an age of oversharing. Depending on your level of tolerance, perhaps you’ve just come to accept that too many people know too much about you, and sigh with resignation every time a family member or friend posts a photo of you with a double chin, or the dreaded red eye, or hoisting a pint at the bar when you told your boss you were home sick that day.\u003c/p>\n\u003cp>Privacy? Boundaries? Those went out with the advent of social media.\u003c/p>\n\u003cp>But some things require privacy to thrive. I’m not talking about illegal behavior, per se. There’s something about sex, love, even marriage, that prefers the candlelit corner, and not just because low lighting is so forgiving. Posting about everything -- the first date, the last fight -- can wound or kill a romantic relationship.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/14/LITDApodcastlogo.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/love-in-the-digital-age/id1037051180?mt=2\">Subscribe in iTunes\u003c/a>\u003c/h3>\n\u003cp>Don't miss an episode of 'Love in the Digital Age'\u003c/p>\n\u003c/div>\n\u003cp>\u003cem>Love in the Digital Age\u003c/em> sat down with Rico Gagliano recently. He’s co-host of the radio show and podcast \u003ca href=\"http://www.dinnerpartydownload.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\"Dinner Party Download,\"\u003c/a> and while he wouldn’t claim to be the World’s Foremost Expert on Love -- who would? -- he’s had some experience having his personal life dragged out into the limelight for review and discussion.\u003c/p>\n\u003cp>“We all on some level understand, whether we consciously acknowledge it or not, know the way that people behave in their public lives may not necessarily jive with the way that they behave in their private lives,” Gagliano says. “Those are two different universes.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a perfect world, your private life would be yours to enjoy, observed only by those you choose to share it with. Right. Some of us are old enough to remember when that was possible. The choice today is not whether to document our private lives online, but how.\u003c/p>\n\u003cfigure id=\"attachment_10861524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10861524 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-800x449.jpg\" alt=\"“People think of the social media world as just an expansion of their normal social lives in some way, but it isn’t, to me,” says Rico Gagliano.\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-1440x809.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18407_LDA_relationship-status-B_Streeter-qut-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“People think of the social media world as just an expansion of their normal social lives in some way, but it isn’t, to me,” says Rico Gagliano. \u003ccite>(Katherine Streeter for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are plenty of people who look at my Facebook page who are not my close friends,\" Gagliano says. I don’t want to tell them about my relationships, or have them know exactly what I’m doing with my significant other. And yet, I feel like there’s the expectation that you do that.”\u003c/p>\n\u003cp>He’s not just speaking about the madding crowd he's friended over the years. He’s speaking about girlfriends, who expect to post -- or have posted -- a steady stream of sunny photos about meals in restaurants, weekend trips, and “\u003ca href=\"http://www.businessinsider.com/selfies-are-dead-its-all-about-the-usie-now-2014-1\" target=\"_blank\" rel=\"noopener noreferrer\">usies\u003c/a>” at various spots around town. If you refuse to post, or to allow others to post, “then what is that saying about your relationship?\"\u003c/p>\n\u003caside class=\"pullquote alignright\">'Are you trying to keep that relationship on the down low? You don’t want anyone to know that we’re dating? You want me to be your dirty little secret?'\u003c/aside>\n\u003cp>You can, of course, set specific limits on who sees what on Facebook, or evade older generations by seeking out younger social media networks like SnapChat. But unless you go off the grid entirely, your privacy strategy will never be better than partial.\u003c/p>\n\u003cp>Some people say Millennials, having grown up with the expectation there is no privacy, do better at proactively self-censoring than older generations, but there's a limit to how much of yourself you can hold back in the search for love.\u003c/p>\n\u003cp>\u003cstrong>An Early Lesson in Love Online\u003c/strong>\u003c/p>\n\u003cp>Back in the early 2000s, Gagliano was enthusiastically involved with a platform called \u003ca href=\"http://www.livejournal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Live Journal\u003c/a>. That is to say, he hung out with a group of people who blogged on it, read what others wrote on it and dated each other.\u003c/p>\n\u003cp>“I was on Live Journal,” say Gagliano. “My girlfriend was on Live Journal. We dated, and then we broke up. That was fine. We were still friends. Many months later, I started dating somebody else who was also on Live Journal and was friends with all of us, including my ex.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Gagliano went to a movie with his ex. “We were still friends.” At the time, he thought there would be no need to tell the new woman, because he had just started seeing her, especially if he had no interest in rekindling a romantic relationship with his ex. “All it’s going to do is cause problems,” he thought.\u003c/p>\n\u003cp>He didn’t anticipate that his ex would post about the evening on her Live Journal. It didn’t help that she mentioned what a good time they had and how much she wished they were still together. “This girl that I’ve just started dating sees that I’ve gone out with my ex. And she’s like, ‘Why didn’t you tell me?’ ” You don't need to follow Gagliano's Facebook feed to guess how things progressed from there.\u003c/p>\n\u003cfigure id=\"attachment_10861523\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg class=\"wp-image-10861523\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RS18408_Rico-qut-400x400.jpg\" alt=\"This photo “cunningly doesn't show my who face,” says Rico Gagliano, "the better to protect my public anonymity. It shows the top of my head with a portrait of William Howard Taft, with whom I insist I have never had a relationship."\" width=\"250\" height=\"250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RS18408_Rico-qut.jpg 912w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">This photo “cunningly doesn't show my who face,” says Rico Gagliano, \"the better to protect my public anonymity. It shows the top of my head with a portrait of William Howard Taft, with whom I insist I have never had a relationship.\" \u003ccite>(Courtesy Rico Gagliano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That episode may not have been the most painful thing he's experienced, but it did make Gagliano keenly aware some people are always watching him. Even though we’re talking about his friends, family and yes, exes, it doesn’t make that oversight feel less intrusive. There is always a camera somewhere, documenting your search for love in the digital age.\u003c/p>\n\u003cp>“To what extent do you have any control anymore?” Gagliano asks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This podcast features music by K. Flay (“It's Strange”) and the Candyland Remix of the same.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland’s own Fantastic Negrito shared the stage with presidential candidate Bernie Sanders and several other notable artists at Sanders’ last campaign stop in New Hampshire on Monday, Feb. 8.\u003c/p>\n\u003cp>Fantastic Negrito, whose real name is Xavier Dphrepaulezz, joined Edward Sharpe and the Magnetic Zeroes, Young the Giant and many others at a rally at the \u003ca href=\"https://go.berniesanders.com/page/event/detail/townmeeting/4z39\" target=\"_blank\" rel=\"noopener\">University of New Hampshire, Durham campus\u003c/a> the night before primary voting began in the state.\u003c/p>\n\u003cp>In videos posted on his \u003ca href=\"https://www.facebook.com/fantasticnegrito/\" target=\"_blank\" rel=\"noopener\">social media accounts\u003c/a>, Dphrepaulezz can be seen telling an audiences of thousands to “get out the vote” and shaking hands with Sanders himself.\u003c/p>\n\u003cp>https://twitter.com/MusicNegrito/status/697136532163923968\u003c/p>\n\u003cp>An Oakland resident since 1979 who has been playing music off and on \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">since the ’90s\u003c/a>, Dphrepaulezz was the winner of last year’s \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/oaklands-own-fantastic-negrito-wins-npr-tiny-desk-concert-contest/\" target=\"_blank\" rel=\"noopener\">NPR Tiny Desk Concert Contest.\u003c/a> He would later make headlines when he was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">detained by police before his set at Outside Lands\u003c/a> because an intern that worked for him scalped a wristband for the event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"description": "Oakland's own Fantastic Negrito shared the stage with presidential candidate Bernie Sanders and several other notable artists at Sanders' last campaign stop in New Hampshire on Monday, Feb. 8. Fantastic Negrito, whose real name is Xavier Dphrepaulezz, joined Edward Sharpe and the Magnetic Zeroes, Young the Giant and many others at a rally at the University of New Hampshire, Durham campus the night before primary voting began in the state. In videos posted on his social media accounts, Dphrepaulezz can be seen telling an audiences of thousands to "get out the vote" and shaking hands with Sanders himself. https://twitter.com/MusicNegrito/status/697136532163923968 An Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s own Fantastic Negrito shared the stage with presidential candidate Bernie Sanders and several other notable artists at Sanders’ last campaign stop in New Hampshire on Monday, Feb. 8.\u003c/p>\n\u003cp>Fantastic Negrito, whose real name is Xavier Dphrepaulezz, joined Edward Sharpe and the Magnetic Zeroes, Young the Giant and many others at a rally at the \u003ca href=\"https://go.berniesanders.com/page/event/detail/townmeeting/4z39\" target=\"_blank\" rel=\"noopener\">University of New Hampshire, Durham campus\u003c/a> the night before primary voting began in the state.\u003c/p>\n\u003cp>In videos posted on his \u003ca href=\"https://www.facebook.com/fantasticnegrito/\" target=\"_blank\" rel=\"noopener\">social media accounts\u003c/a>, Dphrepaulezz can be seen telling an audiences of thousands to “get out the vote” and shaking hands with Sanders himself.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>An Oakland resident since 1979 who has been playing music off and on \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">since the ’90s\u003c/a>, Dphrepaulezz was the winner of last year’s \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/oaklands-own-fantastic-negrito-wins-npr-tiny-desk-concert-contest/\" target=\"_blank\" rel=\"noopener\">NPR Tiny Desk Concert Contest.\u003c/a> He would later make headlines when he was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">detained by police before his set at Outside Lands\u003c/a> because an intern that worked for him scalped a wristband for the event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "in-central-valley-park-graffitis-no-crime",
"title": "Wall in Fresno Park a Canvas for Graffiti Artists’ Tribute",
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"content": "\u003cp>There aren’t many places in California that boast long, legal, public walls open to graffiti artists. But in southeast Fresno, in the unincorporated community of Calwa, there’s a quarter-mile cinderblock wall that’s open to street artists year-round.\u003c/p>\n\u003cp>“This wall is special,” says \u003ca href=\"http://www.rickywatts.com/\">Ricky Watts\u003c/a>, an aerosol artist from Sebastopol. “This is one of the few places in the state of California where they have a wall like this, this size. There’s no other place like this, really.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/246106574″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>And every year, for the past three years, Watts and other members of a graffiti crew called Lords have come from all over the state for a daylong festival in late January memorializing their founder. It’s called the \u003ca href=\"https://www.facebook.com/events/1154648487899512/\">Bizare Art Festival\u003c/a>, named after Salvador “Bizare” Lujan. Bizare started the crew 30 years ago in San Jose when he was just a teenager.\u003c/p>\n\u003cp>“A lot of guys here have been inspired by him,” says Bizare’s sister, Serena Lujan. “They were taken off the streets, taken away from gangs, to be a part of this crew that didn’t have anything to do with that type of lifestyle.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Serena says Bizare was a gentle character who wanted to unite his friends around something positive and creative — art, music and dance. “He was more of a quiet type, but he had a lot to say,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_10858484\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RickyWatts-800x794.jpg\" alt=\"Aerosol artist Ricky Watts.\" width=\"800\" height=\"794\" class=\"size-medium wp-image-10858484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-1440x1429.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-1180x1171.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-960x953.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist Ricky Watts. \u003ccite>(Alice Daniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bizare died of a heart attack three years ago when he was just 44. And that’s when Serena started this yearly festival.\u003c/p>\n\u003cp>“Instead of being at home mourning his passing, I’d rather be here celebrating his life,” she says.\u003c/p>\n\u003cp>About 80 artists typically paint the wall for the festival, including a tattoo artist from San Diego, whose graffiti name is Payne. But before he draws long lines of spray paint on a black surface, he shakes up one of his cans to make sure it has a good spray.\u003c/p>\n\u003cp>“This might be an old can,” he says. “I might need to get a different tip.” He searches through a box of caps and changes out the old one.\u003c/p>\n\u003cp>“Sometimes they take a little work, and also weather’s playing a part. It’s kind of cold out. Cans like to be warm,” he says with a laugh.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘We just have graffiti in our blood. This is the medium, it’s larger than life.’\u003ccite>Payne\u003c/cite>\u003c/aside>\n\u003cp>Like the other artists here, Payne is putting up his name in huge, colorful letters. He calls it a Payne piece, as in masterpiece. Although the crew started in San Jose, Payne says it has spread to other parts of the state and beyond.\u003c/p>\n\u003cp>“Now we’re all the way down south, across the pond and into Europe,” he says. “We got members all over the world now. It’s a big crew.”\u003c/p>\n\u003cp>He says it’s mostly made up of working-class guys who like hip-hop, letters, music and dancing.\u003c/p>\n\u003cfigure id=\"attachment_10858520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/PayneUp-800x541.jpg\" alt=\"Artist Payne puts up what he calls a ‘Payne Piece.’\" width=\"800\" height=\"541\" class=\"size-medium wp-image-10858520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-1440x974.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Payne puts up what he calls a ‘Payne Piece.’ \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We just have graffiti in our blood. We like to paint. We’re artists. This is the medium, it’s larger than life,” he says.\u003c/p>\n\u003cp>To become a crew member, you have to get noticed, he says. “Just kind of show dedication,” he says. “I won’t talk too much about exploits. But you know, it’s a lot of cred. What you do on the street. You know, just putting up the crew and representing.”\u003c/p>\n\u003cp>[contextly_sidebar id=”KQqEPm7fduo6mTbAsuLReVSY0R65Hdl3″]\u003c/p>\n\u003cp>Payne’s been putting up the crew for 20 years. He’s 44 now and owns a tattoo parlor in San Diego, so he treads a little more gently these days.\u003c/p>\n\u003cp>“I tend to keep it more legal. I have a family, I’ve got two little girls, I’ve got a business, you know, so I’m not trying to go out and kill it the way I did when I was a kid. But I still love to do it and as much as I can,” he says.\u003c/p>\n\u003cp>Farther down the wall, Match, a musician from the Bay Area, explains why choosing a graffiti name is important.\u003c/p>\n\u003cfigure id=\"attachment_10858529\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/Match-800x1067.jpg\" alt=\"Match says graffiti artists spend years mastering their letters.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-10858529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-1440x1920.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Match says graffiti artists spend years mastering their letters. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every one of us painting the wall today has a great appreciation of typography and fonts and letters in general,” he says.\u003c/p>\n\u003cp>Like everyone else here, he’s kind of secretive. He won’t tell his real name or the name of his band, or even what town he lives in.\u003c/p>\n\u003cp>He says good street art means mastering your letters. “We write them over and over again like crazy people on pads of paper from the day we start until the day we die. I’ve probably spent at least two hours every day of my life writing my name over and over again, destroying paperwork, scrap papers and phone books and Bibles in hotels.”\u003c/p>\n\u003cp>Forty-five-year-old Quake is a few spots down the wall from Match. He started writing graffiti some 30 years ago. He says he’s been caught for painting in illegal spots.\u003c/p>\n\u003cp>“I think I got busted for the first time big in 1989,” he says. “I got a lot of hours, 200 community service hours, $4,000 in fines. That’s actually what got me into the piecing aspect.”\u003c/p>\n\u003cp>Piecing is more labor intensive, more complex. It comes from the word masterpiece. “The essence of graffiti is through the tag,” Quake says. “You basically make it bigger, start adding fancy, pretty colors and people appreciate it a little more, I guess. It’s more acceptable.”\u003c/p>\n\u003cp>Today Quake owns an art and apparel company, but his background is in logistics. He worked in the corporate world for years, a kind of dual life, he says. These days, he still paints lots of illegal spots near his home in the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_10858469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/LordBiz-800x460.jpg\" alt=\"Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-10858469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-400x230.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-1440x828.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-960x552.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Spillways, bridges, stuff like that. I just basically go where I can’t be bothered. I’m not really looking to do this to make money. It’s just my hobby. It’s something for me to release. All the frustrations of day-to-day life, I take them out on the wall.”\u003c/p>\n\u003cp>But others do make money using spray paint as their medium. Ricky Watts is a fine artist, muralist and illustrator. His most recent work was a huge mural on the old YMCA building in St. Petersburg, Florida.\u003c/p>\n\u003cp>He says he used to sneak out at night as a teenager to paint graffiti, but what he loved most was art.\u003c/p>\n\u003cp>“I knew early on I loved using spray paint. I wasn’t interested in the vandalism side of it, you know. I really wanted to do big colorful artistic pieces.”\u003c/p>\n\u003cp>And today, the colorful piece he’s doing is a tribute to Bizare.\u003c/p>\n\u003cp>“I’m doing these large simple letters that are going to be very readable, and then inside the letters, I’m gonna take Bizare’s old sketches, and I’m gonna sketch out his letters inside the big letters,” Watts says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s the kind of perspective Bizare would appreciate. Ricky Watts and other Lords crew members’ work can currently be seen on display at the \u003ca href=\"http://oaklandterminalartgallery.bigcartel.com/\">Oakland Terminal Gallery.\u003c/a>\u003c/p>\n\n",
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"excerpt": "Artists from across the state pay annual homage to Bizare, founder of the Lords crew, at a legal graffiti wall.",
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"title": "Wall in Fresno Park a Canvas for Graffiti Artists’ Tribute | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There aren’t many places in California that boast long, legal, public walls open to graffiti artists. But in southeast Fresno, in the unincorporated community of Calwa, there’s a quarter-mile cinderblock wall that’s open to street artists year-round.\u003c/p>\n\u003cp>“This wall is special,” says \u003ca href=\"http://www.rickywatts.com/\">Ricky Watts\u003c/a>, an aerosol artist from Sebastopol. “This is one of the few places in the state of California where they have a wall like this, this size. There’s no other place like this, really.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/246106574″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/246106574″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And every year, for the past three years, Watts and other members of a graffiti crew called Lords have come from all over the state for a daylong festival in late January memorializing their founder. It’s called the \u003ca href=\"https://www.facebook.com/events/1154648487899512/\">Bizare Art Festival\u003c/a>, named after Salvador “Bizare” Lujan. Bizare started the crew 30 years ago in San Jose when he was just a teenager.\u003c/p>\n\u003cp>“A lot of guys here have been inspired by him,” says Bizare’s sister, Serena Lujan. “They were taken off the streets, taken away from gangs, to be a part of this crew that didn’t have anything to do with that type of lifestyle.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Serena says Bizare was a gentle character who wanted to unite his friends around something positive and creative — art, music and dance. “He was more of a quiet type, but he had a lot to say,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_10858484\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RickyWatts-800x794.jpg\" alt=\"Aerosol artist Ricky Watts.\" width=\"800\" height=\"794\" class=\"size-medium wp-image-10858484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-800x794.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-1440x1429.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-1180x1171.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-960x953.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RickyWatts-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist Ricky Watts. \u003ccite>(Alice Daniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bizare died of a heart attack three years ago when he was just 44. And that’s when Serena started this yearly festival.\u003c/p>\n\u003cp>“Instead of being at home mourning his passing, I’d rather be here celebrating his life,” she says.\u003c/p>\n\u003cp>About 80 artists typically paint the wall for the festival, including a tattoo artist from San Diego, whose graffiti name is Payne. But before he draws long lines of spray paint on a black surface, he shakes up one of his cans to make sure it has a good spray.\u003c/p>\n\u003cp>“This might be an old can,” he says. “I might need to get a different tip.” He searches through a box of caps and changes out the old one.\u003c/p>\n\u003cp>“Sometimes they take a little work, and also weather’s playing a part. It’s kind of cold out. Cans like to be warm,” he says with a laugh.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘We just have graffiti in our blood. This is the medium, it’s larger than life.’\u003ccite>Payne\u003c/cite>\u003c/aside>\n\u003cp>Like the other artists here, Payne is putting up his name in huge, colorful letters. He calls it a Payne piece, as in masterpiece. Although the crew started in San Jose, Payne says it has spread to other parts of the state and beyond.\u003c/p>\n\u003cp>“Now we’re all the way down south, across the pond and into Europe,” he says. “We got members all over the world now. It’s a big crew.”\u003c/p>\n\u003cp>He says it’s mostly made up of working-class guys who like hip-hop, letters, music and dancing.\u003c/p>\n\u003cfigure id=\"attachment_10858520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/PayneUp-800x541.jpg\" alt=\"Artist Payne puts up what he calls a ‘Payne Piece.’\" width=\"800\" height=\"541\" class=\"size-medium wp-image-10858520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-1440x974.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/PayneUp-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Payne puts up what he calls a ‘Payne Piece.’ \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We just have graffiti in our blood. We like to paint. We’re artists. This is the medium, it’s larger than life,” he says.\u003c/p>\n\u003cp>To become a crew member, you have to get noticed, he says. “Just kind of show dedication,” he says. “I won’t talk too much about exploits. But you know, it’s a lot of cred. What you do on the street. You know, just putting up the crew and representing.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Payne’s been putting up the crew for 20 years. He’s 44 now and owns a tattoo parlor in San Diego, so he treads a little more gently these days.\u003c/p>\n\u003cp>“I tend to keep it more legal. I have a family, I’ve got two little girls, I’ve got a business, you know, so I’m not trying to go out and kill it the way I did when I was a kid. But I still love to do it and as much as I can,” he says.\u003c/p>\n\u003cp>Farther down the wall, Match, a musician from the Bay Area, explains why choosing a graffiti name is important.\u003c/p>\n\u003cfigure id=\"attachment_10858529\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/Match-800x1067.jpg\" alt=\"Match says graffiti artists spend years mastering their letters.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-10858529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-1440x1920.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/Match-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Match says graffiti artists spend years mastering their letters. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every one of us painting the wall today has a great appreciation of typography and fonts and letters in general,” he says.\u003c/p>\n\u003cp>Like everyone else here, he’s kind of secretive. He won’t tell his real name or the name of his band, or even what town he lives in.\u003c/p>\n\u003cp>He says good street art means mastering your letters. “We write them over and over again like crazy people on pads of paper from the day we start until the day we die. I’ve probably spent at least two hours every day of my life writing my name over and over again, destroying paperwork, scrap papers and phone books and Bibles in hotels.”\u003c/p>\n\u003cp>Forty-five-year-old Quake is a few spots down the wall from Match. He started writing graffiti some 30 years ago. He says he’s been caught for painting in illegal spots.\u003c/p>\n\u003cp>“I think I got busted for the first time big in 1989,” he says. “I got a lot of hours, 200 community service hours, $4,000 in fines. That’s actually what got me into the piecing aspect.”\u003c/p>\n\u003cp>Piecing is more labor intensive, more complex. It comes from the word masterpiece. “The essence of graffiti is through the tag,” Quake says. “You basically make it bigger, start adding fancy, pretty colors and people appreciate it a little more, I guess. It’s more acceptable.”\u003c/p>\n\u003cp>Today Quake owns an art and apparel company, but his background is in logistics. He worked in the corporate world for years, a kind of dual life, he says. These days, he still paints lots of illegal spots near his home in the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_10858469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/LordBiz-800x460.jpg\" alt=\"Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-10858469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-400x230.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-1440x828.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LordBiz-960x552.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Spillways, bridges, stuff like that. I just basically go where I can’t be bothered. I’m not really looking to do this to make money. It’s just my hobby. It’s something for me to release. All the frustrations of day-to-day life, I take them out on the wall.”\u003c/p>\n\u003cp>But others do make money using spray paint as their medium. Ricky Watts is a fine artist, muralist and illustrator. His most recent work was a huge mural on the old YMCA building in St. Petersburg, Florida.\u003c/p>\n\u003cp>He says he used to sneak out at night as a teenager to paint graffiti, but what he loved most was art.\u003c/p>\n\u003cp>“I knew early on I loved using spray paint. I wasn’t interested in the vandalism side of it, you know. I really wanted to do big colorful artistic pieces.”\u003c/p>\n\u003cp>And today, the colorful piece he’s doing is a tribute to Bizare.\u003c/p>\n\u003cp>“I’m doing these large simple letters that are going to be very readable, and then inside the letters, I’m gonna take Bizare’s old sketches, and I’m gonna sketch out his letters inside the big letters,” Watts says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s the kind of perspective Bizare would appreciate. Ricky Watts and other Lords crew members’ work can currently be seen on display at the \u003ca href=\"http://oaklandterminalartgallery.bigcartel.com/\">Oakland Terminal Gallery.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the nation’s attention turned to San Francisco this past weekend and the festivities surrounding Super Bowl 50, some performers used the national stage to comment on a local tragedy: the fatal shooting of Mario Woods by \u003ca href=\"http://ww2.kqed.org/news/2015/12/02/s-f-police-chief-public-defender-clash-over-latest-fatal-cop-shooting\" target=\"_blank\" rel=\"noopener\">San Francisco police officers back in December\u003c/a>.\u003c/p>\n\u003cp>Woods, a 26-year-old African American from San Francisco, was shot 15 times by a group of police officers while he was holding a knife. A suspect in a stabbing reported earlier, officers said they fired upon Woods because he lunged at the officers. Multiple videos of the incident at different angles were released not long after the incident and \u003ca href=\"http://ww2.kqed.org/news/2015/12/07/video-evidence-appears-to-contradict-sfpd-account-of-mario-woods-killing\" target=\"_blank\" rel=\"noopener\">contradicted the officers’ statements\u003c/a>.\u003c/p>\n\u003cp>The shooting prompted \u003ca href=\"http://ww2.kqed.org/news/2016/01/30/sfpd-stops-mario-woods-march-near-the-gates-to-super-bowl-city\" target=\"_blank\" rel=\"noopener\">protests by local activists\u003c/a> and last week, the U.S. Department of Justice announced it \u003ca href=\"http://ww2.kqed.org/news/2016/02/01/department-of-justice-to-conduct-review-of-san-francisco-police-department\" target=\"_blank\" rel=\"noopener\">would be conducting a review\u003c/a> of the San Francisco Police Department over its use of force practices.\u003c/p>\n\u003cp>On Saturday, Alicia Keys opened her set at Levi’s City Stage in San Francisco’s Super Bowl City by commenting on the Woods case, expressing support for those protesting \u003ca href=\"http://www.nbcbayarea.com/entertainment/Alicia-Keys-Opens-Pre-Super-Bowl-Show-With-Words-About-Mario-Woods-367977861.html\" target=\"_blank\" rel=\"noopener\">against the police’s actions\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>I want you to know that I salute everyone who has the courage and conviction to stand for what’s right. I want to thank you for your commitment to making sure justice is done for Mario Woods. As the mother of two black sons it breaks my heart to see what we’ve been seeing, the trouble’s we’ve been seeing on camera, and all the people that we’ll never see.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ci>Watch the video of Keys’ speech below:\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fmuIatp3YDo\u003c/p>\n\u003cp>The next day, some of the dancers who performed with Beyoncé during her Super Bowl Halftime Show were recorded on video holding a sign that read “Justice 4 Mario Woods” by someone with \u003ca href=\"https://www.facebook.com/BlackLivesMatterBayArea/timeline\" target=\"_blank\" rel=\"noopener\">Black Lives Matter Bay Area\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/BLMBAYAREA/status/696519908050362368\u003c/p>\n\u003cp>For their performance with one of the most \u003ca href=\"http://www.biography.com/people/beyonce-knowles-39230#solo-career\" target=\"_blank\" rel=\"noopener\">successful recording artists of our day\u003c/a>, the dancers wore Black Panther Party-inspired uniforms. Started in Oakland, the Black Panther Party celebrates its 50th anniversary this month. (February is also Black History Month.)\u003c/p>\n\u003cp>https://twitter.com/Luvvie/status/696521074922532864\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The dancers were a prominent feature when Beyoncé sang “Formation,” the single she dropped \u003ca href=\"http://ww2.kqed.org/pop/2016/02/06/beyonce-surprise-drops-new-single-and-video-before-super-bowl-performance/\" target=\"_blank\" rel=\"noopener\">released the day before the Super Bowl\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the nation’s attention turned to San Francisco this past weekend and the festivities surrounding Super Bowl 50, some performers used the national stage to comment on a local tragedy: the fatal shooting of Mario Woods by \u003ca href=\"http://ww2.kqed.org/news/2015/12/02/s-f-police-chief-public-defender-clash-over-latest-fatal-cop-shooting\" target=\"_blank\" rel=\"noopener\">San Francisco police officers back in December\u003c/a>.\u003c/p>\n\u003cp>Woods, a 26-year-old African American from San Francisco, was shot 15 times by a group of police officers while he was holding a knife. A suspect in a stabbing reported earlier, officers said they fired upon Woods because he lunged at the officers. Multiple videos of the incident at different angles were released not long after the incident and \u003ca href=\"http://ww2.kqed.org/news/2015/12/07/video-evidence-appears-to-contradict-sfpd-account-of-mario-woods-killing\" target=\"_blank\" rel=\"noopener\">contradicted the officers’ statements\u003c/a>.\u003c/p>\n\u003cp>The shooting prompted \u003ca href=\"http://ww2.kqed.org/news/2016/01/30/sfpd-stops-mario-woods-march-near-the-gates-to-super-bowl-city\" target=\"_blank\" rel=\"noopener\">protests by local activists\u003c/a> and last week, the U.S. Department of Justice announced it \u003ca href=\"http://ww2.kqed.org/news/2016/02/01/department-of-justice-to-conduct-review-of-san-francisco-police-department\" target=\"_blank\" rel=\"noopener\">would be conducting a review\u003c/a> of the San Francisco Police Department over its use of force practices.\u003c/p>\n\u003cp>On Saturday, Alicia Keys opened her set at Levi’s City Stage in San Francisco’s Super Bowl City by commenting on the Woods case, expressing support for those protesting \u003ca href=\"http://www.nbcbayarea.com/entertainment/Alicia-Keys-Opens-Pre-Super-Bowl-Show-With-Words-About-Mario-Woods-367977861.html\" target=\"_blank\" rel=\"noopener\">against the police’s actions\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>I want you to know that I salute everyone who has the courage and conviction to stand for what’s right. I want to thank you for your commitment to making sure justice is done for Mario Woods. As the mother of two black sons it breaks my heart to see what we’ve been seeing, the trouble’s we’ve been seeing on camera, and all the people that we’ll never see.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ci>Watch the video of Keys’ speech below:\u003c/i>\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/fmuIatp3YDo'\n title='//www.youtube.com/embed/fmuIatp3YDo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The next day, some of the dancers who performed with Beyoncé during her Super Bowl Halftime Show were recorded on video holding a sign that read “Justice 4 Mario Woods” by someone with \u003ca href=\"https://www.facebook.com/BlackLivesMatterBayArea/timeline\" target=\"_blank\" rel=\"noopener\">Black Lives Matter Bay Area\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For their performance with one of the most \u003ca href=\"http://www.biography.com/people/beyonce-knowles-39230#solo-career\" target=\"_blank\" rel=\"noopener\">successful recording artists of our day\u003c/a>, the dancers wore Black Panther Party-inspired uniforms. Started in Oakland, the Black Panther Party celebrates its 50th anniversary this month. (February is also Black History Month.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>The dancers were a prominent feature when Beyoncé sang “Formation,” the single she dropped \u003ca href=\"http://ww2.kqed.org/pop/2016/02/06/beyonce-surprise-drops-new-single-and-video-before-super-bowl-performance/\" target=\"_blank\" rel=\"noopener\">released the day before the Super Bowl\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Symphony Plays Music From NFL Films, Set to Football Highlight Reels",
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"content": "\u003cp>There were a lot of bros in sports jerseys at Davies Symphony Hall in San Francisco on Wednesday, carrying bottles of beer by the neck. A few passed a pint of Jack Daniels around as the chimes rang in the lobby, beckoning spectators to their seats.\u003c/p>\n\u003cp>Standing next to a window overlooking City Hall, seventh-graders Greg Kalman and Luke McMahan played an Xbox video game.\u003c/p>\n\u003cp>“Get ’em, get ’em, get ’em,” Greg said to the screen. “Oh, sack!”\u003c/p>\n\u003cp>The symphony set up the NFL Madden game in the lobby for its tribute to \"Super Bowl 50: Concert of Champions.\" Greg couldn’t believe it when his mom told him the symphony was going to play a night of football music, set to clips from football films.\u003c/p>\n\u003cp>“I was flabbergasted, I guess. I was like, are you joking?” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then he thought it through.\u003c/p>\n\u003cp>“There is a certain rhythm to sports. Like how in tennis you have this very loud pop of sound when the ball hits the racket. And in football you have the whistles, the tackles, the yelling,” he said. “So then I realized this could be either a train wreck or it could be really good, but I have a feeling it’s going to be really nice and really coordinated, like a beautiful play.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/245677077\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The symphony set up a giant movie screen looming over the orchestra for the show, rolling football highlight reels from the 1960s to today. The original soundtrack was removed, so the symphony could play it live. Reinforcements for the brass and percussion sections were called in (there were 8 French horns on stage) to produce the emotional swells and dramatic climaxes of NFL music.\u003c/p>\n\u003cp>In one film clip, set to composer Sam Spence’s \"Sabers and Six Guns,\" the quarterback throws a long pass. The violins get louder as the ball flies, in slow motion, toward the end zone. One player tries to catch it, but misses. The cymbals crash. Then another guy reaches up -- the orchestra swells -- and completes the pass. The trumpets hit their peak and the audience cheers. Touchdown.\u003c/p>\n\u003caside class=\"pullquote alignright\">'This music has spit and blood and sweat and guts and laughing...At its base, it’s supposed to be fun, and not stiff or awkward.'\u003ccite>Composer Tom Hedden\u003c/cite>\u003c/aside>\n\u003cp>“Football is just power. Times 10,” says Tom Hedden, a composer who wrote music for NFL films and TV specials for 19 years. “These are the biggest and the fastest and the strongest human beings there are. So the music needs to carry that kind of power with it.”\u003c/p>\n\u003cp>He recalls one rehearsal from his career, when the studio orchestra wasn’t producing the volume or energy he wanted. He told the musicians a story of when he was walking through the office hallways and bumped into Christian Okoye, a running back for the Kansas City Chiefs at the time. He was dressed in full pads for a film shoot.\u003c/p>\n\u003cp>“My nose met him at his solar plexus. He totally dwarfs me,” Hedden says. “I basically was giving the point to the musicians that there is no such thing as too loud or too high or too strong because we're talking about the extremes of human performance.”\u003c/p>\n\u003cfigure id=\"attachment_10855946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg\" alt='For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. ' width=\"800\" height=\"643\" class=\"size-medium wp-image-10855946\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-400x321.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-768x617.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1440x1157.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1180x948.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-960x771.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. \u003ccite>(Photo: Amelia Kusar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hedden loves that some of his work is now being performed on stage by a world-renowned symphony. But he hopes people will also keep it in perspective.\u003c/p>\n\u003cp>“This music has spit and blood and sweat and guts and laughing. It’s about a game,” he says. “At its base, it’s supposed to be fun, and not stiff or awkward.”\u003c/p>\n\u003cp>That’s exactly the idea, says Richard Lonsdorf, the symphony’s associate director of artistic planning. At the \"Concert of Champions,\" people cheered readily when their favorite players graced the screen, and booed at rivals. Waves of laughter floated over the audience during the section of football follies, set to music by Spence, Hedden and David Robidoux, as players accidentally ran into cheerleaders, dove into tables of Gatorade, and straddled the goal post.\u003c/p>\n\u003cp>For the sake of the future, Lonsdorf says, the symphony want to move beyond the “sit down and shut up” model of classical music, without abandoning its core mission.\u003c/p>\n\u003cp>[contextly_sidebar id=\"MqY5oOmhyQ24MsNSEP7MpNme7teFhZZX\"]\u003c/p>\n\u003cp>“This is the age-old question of classical music -- it’s been going out of style for centuries. There’s this sense that the audiences are growing older. They're dying off. They aren’t being replaced by new ones.”\u003c/p>\n\u003cp>So, a couple of years ago, the symphony started a film series. They show movies like \"Psycho\" and \"Star Trek,\" while the orchestra plays the musical score live. Later this month, they’ll show \"Vertigo,\" and after that, \"E.T.\" Lonsdorf says the series has attracted a younger, more diverse audience.\u003c/p>\n\u003cp>“You create this ability for people to feel more comfortable with things, and we hope that it will start to bleed over into our standard offerings,” he says. “It’s a real leap to imagine that someone coming for the first time to the symphony’s 'Concert of Champions' is suddenly going to sign up for our next Mahler cycle. Not that they shouldn't. But you have to create interstitial steps between this kind of project and our most venerable classical properties. And so that's something we're constantly working on and refining.”\u003c/p>\n\u003cp>For Luke McMahan and Greg Kalman, football night was a success.\u003c/p>\n\u003cp>“I loved how the music correlated completely with the plays. When the guy was ramming through people and running for the touchdown,” Luke said.\u003c/p>\n\u003cp>“I got more of a respect for the sport,” Greg added. “These players really do work hard. It’s really great to witness.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though the symphony hopes new audiences will leave the football program with a greater appreciation for music, Luke and Greg walked out with a greater appreciation for football.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then he thought it through.\u003c/p>\n\u003cp>“There is a certain rhythm to sports. Like how in tennis you have this very loud pop of sound when the ball hits the racket. And in football you have the whistles, the tackles, the yelling,” he said. “So then I realized this could be either a train wreck or it could be really good, but I have a feeling it’s going to be really nice and really coordinated, like a beautiful play.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/245677077&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/245677077'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The symphony set up a giant movie screen looming over the orchestra for the show, rolling football highlight reels from the 1960s to today. The original soundtrack was removed, so the symphony could play it live. Reinforcements for the brass and percussion sections were called in (there were 8 French horns on stage) to produce the emotional swells and dramatic climaxes of NFL music.\u003c/p>\n\u003cp>In one film clip, set to composer Sam Spence’s \"Sabers and Six Guns,\" the quarterback throws a long pass. The violins get louder as the ball flies, in slow motion, toward the end zone. One player tries to catch it, but misses. The cymbals crash. Then another guy reaches up -- the orchestra swells -- and completes the pass. The trumpets hit their peak and the audience cheers. Touchdown.\u003c/p>\n\u003caside class=\"pullquote alignright\">'This music has spit and blood and sweat and guts and laughing...At its base, it’s supposed to be fun, and not stiff or awkward.'\u003ccite>Composer Tom Hedden\u003c/cite>\u003c/aside>\n\u003cp>“Football is just power. Times 10,” says Tom Hedden, a composer who wrote music for NFL films and TV specials for 19 years. “These are the biggest and the fastest and the strongest human beings there are. So the music needs to carry that kind of power with it.”\u003c/p>\n\u003cp>He recalls one rehearsal from his career, when the studio orchestra wasn’t producing the volume or energy he wanted. He told the musicians a story of when he was walking through the office hallways and bumped into Christian Okoye, a running back for the Kansas City Chiefs at the time. He was dressed in full pads for a film shoot.\u003c/p>\n\u003cp>“My nose met him at his solar plexus. He totally dwarfs me,” Hedden says. “I basically was giving the point to the musicians that there is no such thing as too loud or too high or too strong because we're talking about the extremes of human performance.”\u003c/p>\n\u003cfigure id=\"attachment_10855946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg\" alt='For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. ' width=\"800\" height=\"643\" class=\"size-medium wp-image-10855946\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-400x321.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-768x617.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1440x1157.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1180x948.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-960x771.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. \u003ccite>(Photo: Amelia Kusar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hedden loves that some of his work is now being performed on stage by a world-renowned symphony. But he hopes people will also keep it in perspective.\u003c/p>\n\u003cp>“This music has spit and blood and sweat and guts and laughing. It’s about a game,” he says. “At its base, it’s supposed to be fun, and not stiff or awkward.”\u003c/p>\n\u003cp>That’s exactly the idea, says Richard Lonsdorf, the symphony’s associate director of artistic planning. At the \"Concert of Champions,\" people cheered readily when their favorite players graced the screen, and booed at rivals. Waves of laughter floated over the audience during the section of football follies, set to music by Spence, Hedden and David Robidoux, as players accidentally ran into cheerleaders, dove into tables of Gatorade, and straddled the goal post.\u003c/p>\n\u003cp>For the sake of the future, Lonsdorf says, the symphony want to move beyond the “sit down and shut up” model of classical music, without abandoning its core mission.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“This is the age-old question of classical music -- it’s been going out of style for centuries. There’s this sense that the audiences are growing older. They're dying off. They aren’t being replaced by new ones.”\u003c/p>\n\u003cp>So, a couple of years ago, the symphony started a film series. They show movies like \"Psycho\" and \"Star Trek,\" while the orchestra plays the musical score live. Later this month, they’ll show \"Vertigo,\" and after that, \"E.T.\" Lonsdorf says the series has attracted a younger, more diverse audience.\u003c/p>\n\u003cp>“You create this ability for people to feel more comfortable with things, and we hope that it will start to bleed over into our standard offerings,” he says. “It’s a real leap to imagine that someone coming for the first time to the symphony’s 'Concert of Champions' is suddenly going to sign up for our next Mahler cycle. Not that they shouldn't. But you have to create interstitial steps between this kind of project and our most venerable classical properties. And so that's something we're constantly working on and refining.”\u003c/p>\n\u003cp>For Luke McMahan and Greg Kalman, football night was a success.\u003c/p>\n\u003cp>“I loved how the music correlated completely with the plays. When the guy was ramming through people and running for the touchdown,” Luke said.\u003c/p>\n\u003cp>“I got more of a respect for the sport,” Greg added. “These players really do work hard. It’s really great to witness.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the symphony hopes new audiences will leave the football program with a greater appreciation for music, Luke and Greg walked out with a greater appreciation for football.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dan Hicks, the wildly creative San Francisco singer-songwriter who, with his group Dan Hicks and the Hot Licks, had hits in the 1970s such as “I Scare Myself” and “Canned Music,” died Saturday after a two-year battle with cancer, \u003ca href=\"http://danhicks.net/\" target=\"_blank\" rel=\"noopener\">according to his website\u003c/a>. He was 74.\u003c/p>\n\u003cp>The news was made public via a message on social media from his wife, CT Hicks:\u003c/p>\n\u003cp>https://www.facebook.com/danhicksofficial/photos/a.10150157268112146.343733.48935042145/10153983825567146\u003c/p>\n\u003cp>Cited as an influence by Tom Waits and Elvis Costello, Hicks created his own unique sound that he described as “folk jazz,” but many critics found impossible — and improper — to label, as it managed to also incorporate elements of country, western swing, blue grass and several other genres. Hicks was also known for his witty lyrics, as evident in songs such as “\u003ca href=\"https://www.youtube.com/watch?v=rW9-FOLG-iA\" target=\"_blank\" rel=\"noopener\">How Can I Miss You When You Won’t Go Away?\u003c/a>”\u003c/p>\n\u003cp>“There is no one else who is as unique as he is. There’s no one else who sounds like Dan Hicks, who writes like him, who has that dry sense of humor, or has that manner onstage. He’s really one of a kind,” \u003cem>SF Weekly’s\u003c/em> Lawrence Kay \u003ca href=\"http://www.sfweekly.com/sanfrancisco/return-to-hicksville/Content?oid=2140531\" target=\"_blank\" rel=\"noopener\">wrote in 2000\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Little Rock, Ark. in 1941, his family would be relocated to Santa Rosa, Calif. when Hicks was five. Hicks began playing the drums as an adolescent and would later make a name for himself in San Francisco’s burgeoning folk scene in the 1960s. In 1965, Hicks would become the drummer for The Charlatans, who, along with groups such as the Jefferson Airplane and the Grateful Dead, would help define the city’s psychedelic sound. Later, rock historians would cite the group’s extended residency at the \u003ca href=\"https://web.archive.org/web/20080803183115/http://www.professorposter.com/seed.html\" target=\"_blank\" rel=\"noopener\">Red Dog Saloon in Nevada\u003c/a> in the summer of ’65 as being the precursor to San Francisco’s LSD-focused rock shows of the later ’60s because of the trippy rock posters used to advertise the residency, and the fact that the band would ingest psychedelic drugs while playing.\u003c/p>\n\u003cp>Hicks broke away from the Charlatans in 1968 to focus on his own group, Dan Hicks and the Hot Licks, which he started with violinist David LaFlamme, who would later go on to found another legendary San Francisco group, It’s A Beautiful Day. LaFlamme was replaced by “Symphony” Sid Page, whose heavily-jazz-influenced style would become a hallmark of Hicks’s sound, especially in tracks such as 1974’s “I Scare Myself.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2wBPIcZpFIk\u003c/p>\n\u003cp>The original lineup, which was drummer-less, would break up in 1971 after recording two albums, the first one \u003ci>Original Recordings\u003c/i> with producer Bob Johnston, who also worked with Bob Dylan, Johnny Cash and Leonard Cohen, among others. But it wouldn’t be long before Hicks would start up the group again and record two more albums, the last being \u003ci>Last Trainto Hicksville,\u003c/i> which was the first Hot Licks album with a drummer and garnered wide acclaim, even landeding Hicks on the cover of \u003ci>Rolling Stone.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11306872\" class=\"wp-caption alignright\" style=\"max-width: 365px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Dan-Hicks-Rolling-Stone-1973.jpg\" alt=\"Dan Hicks on the cover of 'Rolling Stone' in December of 1973.\" width=\"365\" height=\"500\" class=\"size-full wp-image-11306872\">\u003cfigcaption class=\"wp-caption-text\">Dan Hicks on the cover of ‘Rolling Stone’ in December of 1973. \u003ccite>(Photo: Annie Leibovitz/Rolling Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1974, with his fame on the rise, Hicks would break up the Hot Licks. When asked why that same year, Hicks was \u003ca href=\"https://en.wikipedia.org/wiki/Dan_Hicks_(singer)\" target=\"_blank\" rel=\"noopener\">quoted saying\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nI didn’t want to be a bandleader anymore. It was a load and a load I didn’t want. I’m basically a loner… I like singing and stuff, but I didn’t necessarily want to be a bandleader\n\u003c/p>\u003c/blockquote>\n\u003cp>Over the next few decades, Hicks would continue to play out and record, playing by himself or with the Acoustic Warriors before reforming the Hot Licks in 2000. Before his death, Hicks would record 17 albums under his name. \u003c/p>\n\u003cp>Hicks was diagnosed with throat cancer in January of 2014, which lead to him canceling the majority of his shows while he underwent chemo therapy, but he still managed to play gigs that were important to him, such as the \u003ca href=\"http://www.mercurynews.com/entertainment/ci_25748542/dan-hicks-ready-roll-after-cancer-treatments\" target=\"_blank\" rel=\"noopener\">Fats Waller Birthday Celebration at SFJAZZ that same summer\u003c/a>. One of the last shows he played, back in \u003ca href=\"http://sfsonic.com/concerts/dan-hicks-caucasian-hip-hop-for-hicksters/\" target=\"_blank\" rel=\"noopener\">February of last year at Yoshi’s\u003c/a>, sold out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when more details are learned.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dan Hicks, the wildly creative San Francisco singer-songwriter who, with his group Dan Hicks and the Hot Licks, had hits in the 1970s such as “I Scare Myself” and “Canned Music,” died Saturday after a two-year battle with cancer, \u003ca href=\"http://danhicks.net/\" target=\"_blank\" rel=\"noopener\">according to his website\u003c/a>. He was 74.\u003c/p>\n\u003cp>The news was made public via a message on social media from his wife, CT Hicks:\u003c/p>\n\u003cp>https://www.facebook.com/danhicksofficial/photos/a.10150157268112146.343733.48935042145/10153983825567146\u003c/p>\n\u003cp>Cited as an influence by Tom Waits and Elvis Costello, Hicks created his own unique sound that he described as “folk jazz,” but many critics found impossible — and improper — to label, as it managed to also incorporate elements of country, western swing, blue grass and several other genres. Hicks was also known for his witty lyrics, as evident in songs such as “\u003ca href=\"https://www.youtube.com/watch?v=rW9-FOLG-iA\" target=\"_blank\" rel=\"noopener\">How Can I Miss You When You Won’t Go Away?\u003c/a>”\u003c/p>\n\u003cp>“There is no one else who is as unique as he is. There’s no one else who sounds like Dan Hicks, who writes like him, who has that dry sense of humor, or has that manner onstage. He’s really one of a kind,” \u003cem>SF Weekly’s\u003c/em> Lawrence Kay \u003ca href=\"http://www.sfweekly.com/sanfrancisco/return-to-hicksville/Content?oid=2140531\" target=\"_blank\" rel=\"noopener\">wrote in 2000\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Little Rock, Ark. in 1941, his family would be relocated to Santa Rosa, Calif. when Hicks was five. Hicks began playing the drums as an adolescent and would later make a name for himself in San Francisco’s burgeoning folk scene in the 1960s. In 1965, Hicks would become the drummer for The Charlatans, who, along with groups such as the Jefferson Airplane and the Grateful Dead, would help define the city’s psychedelic sound. Later, rock historians would cite the group’s extended residency at the \u003ca href=\"https://web.archive.org/web/20080803183115/http://www.professorposter.com/seed.html\" target=\"_blank\" rel=\"noopener\">Red Dog Saloon in Nevada\u003c/a> in the summer of ’65 as being the precursor to San Francisco’s LSD-focused rock shows of the later ’60s because of the trippy rock posters used to advertise the residency, and the fact that the band would ingest psychedelic drugs while playing.\u003c/p>\n\u003cp>Hicks broke away from the Charlatans in 1968 to focus on his own group, Dan Hicks and the Hot Licks, which he started with violinist David LaFlamme, who would later go on to found another legendary San Francisco group, It’s A Beautiful Day. LaFlamme was replaced by “Symphony” Sid Page, whose heavily-jazz-influenced style would become a hallmark of Hicks’s sound, especially in tracks such as 1974’s “I Scare Myself.”\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/2wBPIcZpFIk'\n title='//www.youtube.com/embed/2wBPIcZpFIk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The original lineup, which was drummer-less, would break up in 1971 after recording two albums, the first one \u003ci>Original Recordings\u003c/i> with producer Bob Johnston, who also worked with Bob Dylan, Johnny Cash and Leonard Cohen, among others. But it wouldn’t be long before Hicks would start up the group again and record two more albums, the last being \u003ci>Last Trainto Hicksville,\u003c/i> which was the first Hot Licks album with a drummer and garnered wide acclaim, even landeding Hicks on the cover of \u003ci>Rolling Stone.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11306872\" class=\"wp-caption alignright\" style=\"max-width: 365px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Dan-Hicks-Rolling-Stone-1973.jpg\" alt=\"Dan Hicks on the cover of 'Rolling Stone' in December of 1973.\" width=\"365\" height=\"500\" class=\"size-full wp-image-11306872\">\u003cfigcaption class=\"wp-caption-text\">Dan Hicks on the cover of ‘Rolling Stone’ in December of 1973. \u003ccite>(Photo: Annie Leibovitz/Rolling Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1974, with his fame on the rise, Hicks would break up the Hot Licks. When asked why that same year, Hicks was \u003ca href=\"https://en.wikipedia.org/wiki/Dan_Hicks_(singer)\" target=\"_blank\" rel=\"noopener\">quoted saying\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nI didn’t want to be a bandleader anymore. It was a load and a load I didn’t want. I’m basically a loner… I like singing and stuff, but I didn’t necessarily want to be a bandleader\n\u003c/p>\u003c/blockquote>\n\u003cp>Over the next few decades, Hicks would continue to play out and record, playing by himself or with the Acoustic Warriors before reforming the Hot Licks in 2000. Before his death, Hicks would record 17 albums under his name. \u003c/p>\n\u003cp>Hicks was diagnosed with throat cancer in January of 2014, which lead to him canceling the majority of his shows while he underwent chemo therapy, but he still managed to play gigs that were important to him, such as the \u003ca href=\"http://www.mercurynews.com/entertainment/ci_25748542/dan-hicks-ready-roll-after-cancer-treatments\" target=\"_blank\" rel=\"noopener\">Fats Waller Birthday Celebration at SFJAZZ that same summer\u003c/a>. One of the last shows he played, back in \u003ca href=\"http://sfsonic.com/concerts/dan-hicks-caucasian-hip-hop-for-hicksters/\" target=\"_blank\" rel=\"noopener\">February of last year at Yoshi’s\u003c/a>, sold out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when more details are learned.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-other-big-party-how-the-south-bay-celebrates-lunar-new-year",
"title": "The Other Big Party: How Silicon Valley Celebrates Lunar New Year",
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"headTitle": "The Other Big Party: How Silicon Valley Celebrates Lunar New Year | KQED",
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"content": "\u003cp>Lunar New Year hits on Monday and with \u003ca href=\"http://factfinder.census.gov/faces/tableservices/jsf/pages/productview.xhtml\" target=\"_blank\" rel=\"noopener noreferrer\">more than half a million ethnic Chinese\u003c/a> living in the Bay Area, it’s a big deal here. It’s a big deal for many Asian cultures, but the huge influx immigrants from China to work in Silicon Valley in recent years has stimulated the region’s excitement around this holiday season.\u003c/p>\n\u003cp>Traditionally, festivities begin the day before the New Year, a date decided by the Chinese lunar calendar — which is why it feels like the start varies year to year — and continues on for two weeks.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/245606170″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=’166′ iframe=”true” /]\u003c/p>\n\u003cp>But for Bay Area families, there’s an extra kickoff festivity this year: the Super Bowl. The timing is such it’s possible to tune in to the big game Sunday afternoon, and then switch over afterwards to the \u003ca href=\"https://www.youtube.com/channel/UCo3T0jF2PAD_KxqWiruqcDg\" target=\"_blank\" rel=\"noopener noreferrer\">gala broadcast\u003c/a> from mainland China, joining well over a billion viewers around the world. (Just a few more than \u003ca href=\"http://money.cnn.com/2015/02/02/media/super-bowl-ratings/\" target=\"_blank\" rel=\"noopener noreferrer\">watch the Super Bowl\u003c/a>.)\u003c/p>\n\u003cp>After the gala comes a plethora of festivals, which are happening all over the South Bay. New to the celebrations is the \u003ca href=\"http://pa-cpc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Palo Alto Chinese Parents’ Club,\u003c/a> which is co-hosting its first ever Chinese New Year Fair. Like most other fairs, it will include lion dances, martial arts demonstrations, arts and crafts seminars for the kids, and traditional foods like dumplings.\u003c/p>\n\u003cfigure id=\"attachment_11301763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11301763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-800x379.jpg\" alt=\"The start of a new tradition?\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-400x190.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-960x455.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut.jpg 964w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The start of a new tradition? \u003ccite>(Courtesy Palo Alto Chinese Parents’ Club)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This event was designed as a community building event. It’s a platform for the Chinese community and greater community to connect,” says Palo Alto Chinese Parents’ Club co-founder Debra Cen, who helped start the club to help new immigrants integrate with Palo Alto’s community, as well as extend a welcoming hand to those unfamiliar with Chinese culture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The money raised from the fair will be donated to the local school district. That, combined with the goal of the fair, is why Cen and her fellow club members are hoping the city of Palo Alto co-sponsors their New Year festivals in years to come.\u003c/p>\n\u003cp>Other Bay Area cities like \u003ca href=\"http://www.redwoodcity.org/residents/redwood-city-events/cultural/lunar-new-year\" target=\"_blank\" rel=\"noopener noreferrer\">Redwood City\u003c/a> already do. As a matter of fact, Redwood City Councilman Jeff Gee not only organizes that local festival — this year it’s on Feb. 27 — he’s also the official photographer.\u003c/p>\n\u003cfigure id=\"attachment_11301762\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11301762 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-400x600.jpg\" alt=\"A toddler can't help but reach out to check out this lion at a recent Redwood City's Lunar New Year Celebration.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A toddler can’t help but reach out to check out this lion at a recent Redwood City’s Lunar New Year Celebration. \u003ccite>(Courtesy Jeff Gee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ll probably have 3-5,000 people from all over the Bay Area. It’s just grown every single year. It’s been pretty amazing,” Gee says.\u003c/p>\n\u003cp>Lunar New Year is also a big deal for the Vietnamese, and Ha Vy, who helps organize the \u003ca href=\"http://www.tetvietnamsj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnam Tet Festival 2016\u003c/a> in San Jose, says she expects 20,000 people to turn up at the Santa Clara County Fairgrounds Feb. 13 & 14. As with Chinese New Year, you can expect to see lion dances, and martial arts demonstrations, but the food will be decidedly Vietnamese: bbq, egg rolls, spring rolls, bánh mì, and the like.\u003c/p>\n\u003cp>“Every family has a different way of doing it, but essentially, they all try to come together and spend the holiday together. Like Thanksgiving. It’s the same concept,” Vy says.\u003c/p>\n\u003cfigure id=\"attachment_11301767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11301767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-800x600.jpg\" alt=\"Vietnamese Tet Festival aims to attract a broad audience. Organizer Ha Thy says “We have some people that have been calling from So Cal trying to get tickets.” One person called from Tennessee planning a family reunion in San Jose.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vietnamese Tet Festival aims to attract a broad audience. Organizer Ha Vy says “We have some people that have been calling from So Cal trying to get tickets.” One person called from Tennessee planning a family reunion in San Jose. \u003ccite>(Courtesy Vietnamese Tet Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music will be different, too. More than 40 years after the fall of Saigon sent a surge of refugees to San Jose, a new generation of Vietnamese-Americans is taking over organizing community events, and they are changing things up \u003cem>just a bit\u003c/em>.\u003c/p>\n\u003cp>As 21-year-old Vy explains, “Sometimes when you have performance that are more geared to the older generation, they’ll drag the children along, but that doesn’t mean the children will enjoy it.”\u003c/p>\n\u003cp>While there will be plenty of the classic ballad singers her parents and grandparents love, Vy is much more excited about younger performers they’ve managed to line up, like Mai Tiến Dũng.\u003c/p>\n\u003cp>https://youtu.be/xpHBKn0-lGU?t=2m10s\u003c/p>\n\u003cp>“He sings very upbeat music. He’s very good looking,” Vy says. “He’s a fantastic performer that will bring in the younger generations.”\u003c/p>\n\u003cp>On a more classical note, the El Camino Youth Symphony is celebrating the Lunar New Year by hosting Juilliard alum Gwhyneth Chen, who will perform the \u003cem>\u003ca href=\"http://ecys.site-ym.com/events/EventDetails.aspx?id=667235\" target=\"_blank\" rel=\"noopener noreferrer\">Yellow River Piano Concerto\u003c/a> \u003c/em>on Feb. 6\u003cem>. \u003c/em>And Stanford is holding a \u003cem>\u003ca href=\"http://panasianmusicfestival.stanford.edu/2016/\" target=\"_blank\" rel=\"noopener noreferrer\">Celebration of Asia\u003c/a>\u003c/em>, which will consist of three concerts featuring local musicians from Iran, Azerbaijan, Uzbekistan, Vietnam, and Japan, as well as the Forbidden City Chamber Orchestra from China.\u003c/p>\n\u003cp>[contextly_sidebar id=”qlDUMgqihGfxyQHb8WspCixmDvLnPmVu”]\u003c/p>\n\u003cp>On Feb. 28, \u003ca href=\"http://www.hakone.com/lunar-new-year-festival.html\" target=\"_blank\" rel=\"noopener noreferrer\">Hakone Estate and Gardens\u003c/a> hosts a celebration that features, among other traditional activities, a children’s parade. Last but not least, the San Jose Center for the Performing Arts will host \u003ca href=\"http://sf.cpaasv.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Spring Festival Silicon Valley\u003c/a> on Mar. 5. Like the concerts at Stanford, this festival will have a Pan-Asian flavor, featuring Chinese, Indian, Tajikistan, Dai, Tibetan, and Korean music and dance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, no article about Lunar New Year celebrations in the Bay Area would be complete without paying proper respect to the granddaddy of celebrations in San Francisco, which dates back to the 1860s. Many of the people I talked to intend to make a pilgrimage north on Feb. 20. If you can’t be there physically, you can tune in to watch it on \u003ca href=\"http://www.ktvu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KTVU Fox 2\u003c/a> or \u003ca href=\"http://www.ktsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KTSF Channel 26\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Lunar New Year hits on Monday and with more than half a million ethnic Chinese living in the Bay Area, it’s a big deal here.",
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"title": "The Other Big Party: How Silicon Valley Celebrates Lunar New Year | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lunar New Year hits on Monday and with \u003ca href=\"http://factfinder.census.gov/faces/tableservices/jsf/pages/productview.xhtml\" target=\"_blank\" rel=\"noopener noreferrer\">more than half a million ethnic Chinese\u003c/a> living in the Bay Area, it’s a big deal here. It’s a big deal for many Asian cultures, but the huge influx immigrants from China to work in Silicon Valley in recent years has stimulated the region’s excitement around this holiday season.\u003c/p>\n\u003cp>Traditionally, festivities begin the day before the New Year, a date decided by the Chinese lunar calendar — which is why it feels like the start varies year to year — and continues on for two weeks.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’166′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/245606170″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/245606170″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But for Bay Area families, there’s an extra kickoff festivity this year: the Super Bowl. The timing is such it’s possible to tune in to the big game Sunday afternoon, and then switch over afterwards to the \u003ca href=\"https://www.youtube.com/channel/UCo3T0jF2PAD_KxqWiruqcDg\" target=\"_blank\" rel=\"noopener noreferrer\">gala broadcast\u003c/a> from mainland China, joining well over a billion viewers around the world. (Just a few more than \u003ca href=\"http://money.cnn.com/2015/02/02/media/super-bowl-ratings/\" target=\"_blank\" rel=\"noopener noreferrer\">watch the Super Bowl\u003c/a>.)\u003c/p>\n\u003cp>After the gala comes a plethora of festivals, which are happening all over the South Bay. New to the celebrations is the \u003ca href=\"http://pa-cpc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Palo Alto Chinese Parents’ Club,\u003c/a> which is co-hosting its first ever Chinese New Year Fair. Like most other fairs, it will include lion dances, martial arts demonstrations, arts and crafts seminars for the kids, and traditional foods like dumplings.\u003c/p>\n\u003cfigure id=\"attachment_11301763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11301763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-800x379.jpg\" alt=\"The start of a new tradition?\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-400x190.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-960x455.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut.jpg 964w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The start of a new tradition? \u003ccite>(Courtesy Palo Alto Chinese Parents’ Club)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This event was designed as a community building event. It’s a platform for the Chinese community and greater community to connect,” says Palo Alto Chinese Parents’ Club co-founder Debra Cen, who helped start the club to help new immigrants integrate with Palo Alto’s community, as well as extend a welcoming hand to those unfamiliar with Chinese culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The money raised from the fair will be donated to the local school district. That, combined with the goal of the fair, is why Cen and her fellow club members are hoping the city of Palo Alto co-sponsors their New Year festivals in years to come.\u003c/p>\n\u003cp>Other Bay Area cities like \u003ca href=\"http://www.redwoodcity.org/residents/redwood-city-events/cultural/lunar-new-year\" target=\"_blank\" rel=\"noopener noreferrer\">Redwood City\u003c/a> already do. As a matter of fact, Redwood City Councilman Jeff Gee not only organizes that local festival — this year it’s on Feb. 27 — he’s also the official photographer.\u003c/p>\n\u003cfigure id=\"attachment_11301762\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11301762 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-400x600.jpg\" alt=\"A toddler can't help but reach out to check out this lion at a recent Redwood City's Lunar New Year Celebration.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A toddler can’t help but reach out to check out this lion at a recent Redwood City’s Lunar New Year Celebration. \u003ccite>(Courtesy Jeff Gee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ll probably have 3-5,000 people from all over the Bay Area. It’s just grown every single year. It’s been pretty amazing,” Gee says.\u003c/p>\n\u003cp>Lunar New Year is also a big deal for the Vietnamese, and Ha Vy, who helps organize the \u003ca href=\"http://www.tetvietnamsj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnam Tet Festival 2016\u003c/a> in San Jose, says she expects 20,000 people to turn up at the Santa Clara County Fairgrounds Feb. 13 & 14. As with Chinese New Year, you can expect to see lion dances, and martial arts demonstrations, but the food will be decidedly Vietnamese: bbq, egg rolls, spring rolls, bánh mì, and the like.\u003c/p>\n\u003cp>“Every family has a different way of doing it, but essentially, they all try to come together and spend the holiday together. Like Thanksgiving. It’s the same concept,” Vy says.\u003c/p>\n\u003cfigure id=\"attachment_11301767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11301767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-800x600.jpg\" alt=\"Vietnamese Tet Festival aims to attract a broad audience. Organizer Ha Thy says “We have some people that have been calling from So Cal trying to get tickets.” One person called from Tennessee planning a family reunion in San Jose.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vietnamese Tet Festival aims to attract a broad audience. Organizer Ha Vy says “We have some people that have been calling from So Cal trying to get tickets.” One person called from Tennessee planning a family reunion in San Jose. \u003ccite>(Courtesy Vietnamese Tet Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music will be different, too. More than 40 years after the fall of Saigon sent a surge of refugees to San Jose, a new generation of Vietnamese-Americans is taking over organizing community events, and they are changing things up \u003cem>just a bit\u003c/em>.\u003c/p>\n\u003cp>As 21-year-old Vy explains, “Sometimes when you have performance that are more geared to the older generation, they’ll drag the children along, but that doesn’t mean the children will enjoy it.”\u003c/p>\n\u003cp>While there will be plenty of the classic ballad singers her parents and grandparents love, Vy is much more excited about younger performers they’ve managed to line up, like Mai Tiến Dũng.\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/xpHBKn0-lGU'\n title='//www.youtube.com/embed/xpHBKn0-lGU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He sings very upbeat music. He’s very good looking,” Vy says. “He’s a fantastic performer that will bring in the younger generations.”\u003c/p>\n\u003cp>On a more classical note, the El Camino Youth Symphony is celebrating the Lunar New Year by hosting Juilliard alum Gwhyneth Chen, who will perform the \u003cem>\u003ca href=\"http://ecys.site-ym.com/events/EventDetails.aspx?id=667235\" target=\"_blank\" rel=\"noopener noreferrer\">Yellow River Piano Concerto\u003c/a> \u003c/em>on Feb. 6\u003cem>. \u003c/em>And Stanford is holding a \u003cem>\u003ca href=\"http://panasianmusicfestival.stanford.edu/2016/\" target=\"_blank\" rel=\"noopener noreferrer\">Celebration of Asia\u003c/a>\u003c/em>, which will consist of three concerts featuring local musicians from Iran, Azerbaijan, Uzbekistan, Vietnam, and Japan, as well as the Forbidden City Chamber Orchestra from China.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On Feb. 28, \u003ca href=\"http://www.hakone.com/lunar-new-year-festival.html\" target=\"_blank\" rel=\"noopener noreferrer\">Hakone Estate and Gardens\u003c/a> hosts a celebration that features, among other traditional activities, a children’s parade. Last but not least, the San Jose Center for the Performing Arts will host \u003ca href=\"http://sf.cpaasv.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Spring Festival Silicon Valley\u003c/a> on Mar. 5. Like the concerts at Stanford, this festival will have a Pan-Asian flavor, featuring Chinese, Indian, Tajikistan, Dai, Tibetan, and Korean music and dance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, no article about Lunar New Year celebrations in the Bay Area would be complete without paying proper respect to the granddaddy of celebrations in San Francisco, which dates back to the 1860s. Many of the people I talked to intend to make a pilgrimage north on Feb. 20. If you can’t be there physically, you can tune in to watch it on \u003ca href=\"http://www.ktvu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KTVU Fox 2\u003c/a> or \u003ca href=\"http://www.ktsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KTSF Channel 26\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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