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"content": "\u003cp>Before he moved to Portland near the end of 2015, multi-instrumentalist Ralph Carney set up a temporary studio in the basement of his apartment near San Francisco’s Golden Gate Park. It was probably originally intended for storing tools or Christmas decorations, but Carney crammed the tiny space with instruments and recording equipment.\u003c/p>\n\u003cp>Carney was frenetic as he walked around that studio, showing me his setup during an interview late last year. It was just like one of his sax solos: he practically hopped from one instrument to the next, performing in bursts.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/247946991″ 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>If you have good taste in music, Carney is probably all over your collection. He’s played with artists as diverse as Tom Waits and the B-52s. If you were alive in the ’80s, you heard his distinctive solo on the Waitresses’ “I Know what Boys Like.”\u003c/p>\n\u003cp>“I recorded it like three weeks before I moved out of New York, and I had a really bad sinus infection,” Carney says. “They kept going, ‘Do another one man, you almost got it.’ And I’d be like, ‘BLAH!’ Because I was pissed off. It came off like, ‘rat neh neh neh.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qAp9aiDXM5g\u003c/p>\n\u003cp>Carney was asked to join the band — the group’s leader, Chris Butler, had played with Carney in the Akron-based punk band Tin Huey — but he turned down the offer. \u003c/p>\n\u003cp>“So Mars Williams took the gig [with the Waitresses] and they did a video with Mars lip-syncing my solo,” Carney says. “I was so upset. ‘That’s me — he’s going to get all the wealth!’” (Carney now laughs at the thought, and says he and Williams have been good friends for years.) \u003c/p>\n\u003cp>[contextly_sidebar id=”RS2fT0vSfkNclT7GZggyJ5mO0i0LGe5d”]\u003c/p>\n\u003cp>In recent years, Carney’s main income has come from playing gigs at local restaurants, as well as recordings he’s made at home. There in the dark apartment studio is where he recorded parts for the soundtrack to the Netflix series \u003cem>Bojack Horseman\u003c/em>, songs he wrote with his nephew, Patrick Carney of the Black Keys. It’s also where he recorded the bass sax part that would become the backbone of St. Vincent’s 2014 single, “Digital Witness.” (Carney’s sax was sampled for the keyboard riff on this track.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mVAxUMuhz98\u003c/p>\n\u003cp>But the majority of his home studio recordings have been self-released — including a piece that he now considers one of the best songs he’s ever written. It came to him after a moment of tragedy: the \u003ca href=\"https://en.wikipedia.org/wiki/Charleston_church_shooting\" target=\"_blank\" rel=\"noopener\">Charleston Church Massacre\u003c/a>, which took place on the evening of June 17, 2015, when a gunman killed nine people at the Emanuel African Methodist Episcopal Church, including the church’s senior pastor.\u003c/p>\n\u003cp>“I was watching the news and when they arraigned the guy, the victims’ families were there, and they were all like, ‘I forgive you,’” Carney says. “I just lost it. I was crying, and I was thinking about John Coltrane’s ‘Alabama.’”\u003c/p>\n\u003cp>Coltrane wrote the song “Alabama” in response to the 1963 bombing of a Birmingham church by the Ku Klux Klan, an attack that killed four young girls. Wordless, the sorrow Coltrane felt from the tragedy is palpable in his playing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5cnIZ826ZVE\u003c/p>\n\u003cp>“People are always saying I post that song [on social media] too much, because I’m always posting it after a tragedy,” Carney says.\u003c/p>\n\u003cp>With a face full of tears and Coltrane stuck in his head, Carney went downstairs and began playing.\u003c/p>\n\u003cp>“I was just in a trance and I got my bass sax, which is pretty big, and I recorded a thing. It was just going to be a bass sax, but then I was like, ‘let me just add baritone’…and I just went from there,” Carney says. “I played the whole family of saxophones until I got to the highest one, and then I was like, ‘Oh, this is pretty good.'” He laughs.\u003c/p>\n\u003cp>When Carney was happy with the final product, a three-minute track called “Lament for Charleston,” he did what he usually does with his own songs: he posted it on his \u003ca href=\"https://ralphcarney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp page\u003c/a> and shared it on Facebook.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uwZICH_pyBM\u003c/p>\n\u003cp>“I post tons of my music and I get, ‘Hey, that was pretty cool.’ But this time the reaction was immediate,” he says.\u003c/p>\n\u003cp>The song hit a nerve in a lot of people, including Carney’s old friend, the \u003ca href=\"http://www.davidcoulter.co.uk/about/\" target=\"_blank\" rel=\"noopener\">British multi-instrumentalist David Coulter\u003c/a>.\u003c/p>\n\u003cp>“I cried after hearing it,” says Coulter. “It was this amazingly, overwhelmingly beautiful and moving piece that was just like this big scream, and it just kinda said everything that I was thinking and couldn’t put into words.”\u003c/p>\n\u003cp>Coulter knew other people had to hear this composition, and passed it on to his friend David Harrington. Harrington is the founder of the Grammy Award-winning Kronos Quartet — probably one of the most recognizable groups in the world of classical music — and much of what Kronos plays comes from outside composers, sources that vary from Philip Glass to Jimi Hendrix.\u003c/p>\n\u003cp>“Since 1973, Kronos has worked closely with composers,” Harrington says. “I can’t tell you where the next piece might come from and I don’t want to know. What I want to do is have Kronos ready for music that we feel we need to jump into, that our audience has to hear.”\u003c/p>\n\u003cp>At the time Carney released “Lament,” the quartet was preparing for the \u003ca href=\"http://ww2.kqed.org/arts/2015/06/30/live-review-terry-riley-festival-with-kronos-quartet-at-sfjazz-center/\" target=\"_blank\" rel=\"noopener\">Terry Riley Festival at SF Jazz\u003c/a>, a series of sold-out concerts attended by thousands, and what Harrington describes as the biggest event Kronos had ever worked on. But after Coulter played the track for Harrington, the world-renowned violinist wanted to jump on it right away. After receiving permission from Carney, Harrington asked a composer to work overnight to arrange a version for the quartet to play at the festival.\u003c/p>\n\u003cp>That plan shifted slightly — the arrangement was ready in time, but “we didn’t have the brain cells available to do it at the Riley Festival” in the end, says Harrington.\u003c/p>\n\u003cfigure id=\"attachment_11268314\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11268314\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg\" alt=\"Ralph Carney, 2015\" width=\"413\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-400x582.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP.jpg 599w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney, 2015 \u003ccite>(Photo: Dennis Hearne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, the quartet prepared the piece for the Cabrillo Festival of Contemporary Music in Santa Cruz. And this time, they invited Carney to join their rehearsal.\u003c/p>\n\u003cp>After running through the song twice, Harrington asked if Carney would join them onstage at the festival to play their version of his composition.\u003c/p>\n\u003cp>“I was really surprised I didn’t cry when I was doing it,” Carney says.\u003c/p>\n\u003cp>Since that performance, Carney has moved to Portland, thanks to the rising cost of living in San Francisco. But his experience playing with Kronos was a perfect sendoff, he says, after living in the city for 28 years. Carney says he’s known the feeling of validation before, but that moment onstage was unlike any other experience: It wasn’t just a job. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before he moved to Portland near the end of 2015, multi-instrumentalist Ralph Carney set up a temporary studio in the basement of his apartment near San Francisco’s Golden Gate Park. It was probably originally intended for storing tools or Christmas decorations, but Carney crammed the tiny space with instruments and recording equipment.\u003c/p>\n\u003cp>Carney was frenetic as he walked around that studio, showing me his setup during an interview late last year. It was just like one of his sax solos: he practically hopped from one instrument to the next, performing in bursts.\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/247946991″&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/247946991″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>If you have good taste in music, Carney is probably all over your collection. He’s played with artists as diverse as Tom Waits and the B-52s. If you were alive in the ’80s, you heard his distinctive solo on the Waitresses’ “I Know what Boys Like.”\u003c/p>\n\u003cp>“I recorded it like three weeks before I moved out of New York, and I had a really bad sinus infection,” Carney says. “They kept going, ‘Do another one man, you almost got it.’ And I’d be like, ‘BLAH!’ Because I was pissed off. It came off like, ‘rat neh neh neh.'”\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/qAp9aiDXM5g'\n title='//www.youtube.com/embed/qAp9aiDXM5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Carney was asked to join the band — the group’s leader, Chris Butler, had played with Carney in the Akron-based punk band Tin Huey — but he turned down the offer. \u003c/p>\n\u003cp>“So Mars Williams took the gig [with the Waitresses] and they did a video with Mars lip-syncing my solo,” Carney says. “I was so upset. ‘That’s me — he’s going to get all the wealth!’” (Carney now laughs at the thought, and says he and Williams have been good friends for years.) \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In recent years, Carney’s main income has come from playing gigs at local restaurants, as well as recordings he’s made at home. There in the dark apartment studio is where he recorded parts for the soundtrack to the Netflix series \u003cem>Bojack Horseman\u003c/em>, songs he wrote with his nephew, Patrick Carney of the Black Keys. It’s also where he recorded the bass sax part that would become the backbone of St. Vincent’s 2014 single, “Digital Witness.” (Carney’s sax was sampled for the keyboard riff on this track.)\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/mVAxUMuhz98'\n title='//www.youtube.com/embed/mVAxUMuhz98'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the majority of his home studio recordings have been self-released — including a piece that he now considers one of the best songs he’s ever written. It came to him after a moment of tragedy: the \u003ca href=\"https://en.wikipedia.org/wiki/Charleston_church_shooting\" target=\"_blank\" rel=\"noopener\">Charleston Church Massacre\u003c/a>, which took place on the evening of June 17, 2015, when a gunman killed nine people at the Emanuel African Methodist Episcopal Church, including the church’s senior pastor.\u003c/p>\n\u003cp>“I was watching the news and when they arraigned the guy, the victims’ families were there, and they were all like, ‘I forgive you,’” Carney says. “I just lost it. I was crying, and I was thinking about John Coltrane’s ‘Alabama.’”\u003c/p>\n\u003cp>Coltrane wrote the song “Alabama” in response to the 1963 bombing of a Birmingham church by the Ku Klux Klan, an attack that killed four young girls. Wordless, the sorrow Coltrane felt from the tragedy is palpable in his playing.\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/5cnIZ826ZVE'\n title='//www.youtube.com/embed/5cnIZ826ZVE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“People are always saying I post that song [on social media] too much, because I’m always posting it after a tragedy,” Carney says.\u003c/p>\n\u003cp>With a face full of tears and Coltrane stuck in his head, Carney went downstairs and began playing.\u003c/p>\n\u003cp>“I was just in a trance and I got my bass sax, which is pretty big, and I recorded a thing. It was just going to be a bass sax, but then I was like, ‘let me just add baritone’…and I just went from there,” Carney says. “I played the whole family of saxophones until I got to the highest one, and then I was like, ‘Oh, this is pretty good.'” He laughs.\u003c/p>\n\u003cp>When Carney was happy with the final product, a three-minute track called “Lament for Charleston,” he did what he usually does with his own songs: he posted it on his \u003ca href=\"https://ralphcarney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp page\u003c/a> and shared it on Facebook.\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/uwZICH_pyBM'\n title='//www.youtube.com/embed/uwZICH_pyBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I post tons of my music and I get, ‘Hey, that was pretty cool.’ But this time the reaction was immediate,” he says.\u003c/p>\n\u003cp>The song hit a nerve in a lot of people, including Carney’s old friend, the \u003ca href=\"http://www.davidcoulter.co.uk/about/\" target=\"_blank\" rel=\"noopener\">British multi-instrumentalist David Coulter\u003c/a>.\u003c/p>\n\u003cp>“I cried after hearing it,” says Coulter. “It was this amazingly, overwhelmingly beautiful and moving piece that was just like this big scream, and it just kinda said everything that I was thinking and couldn’t put into words.”\u003c/p>\n\u003cp>Coulter knew other people had to hear this composition, and passed it on to his friend David Harrington. Harrington is the founder of the Grammy Award-winning Kronos Quartet — probably one of the most recognizable groups in the world of classical music — and much of what Kronos plays comes from outside composers, sources that vary from Philip Glass to Jimi Hendrix.\u003c/p>\n\u003cp>“Since 1973, Kronos has worked closely with composers,” Harrington says. “I can’t tell you where the next piece might come from and I don’t want to know. What I want to do is have Kronos ready for music that we feel we need to jump into, that our audience has to hear.”\u003c/p>\n\u003cp>At the time Carney released “Lament,” the quartet was preparing for the \u003ca href=\"http://ww2.kqed.org/arts/2015/06/30/live-review-terry-riley-festival-with-kronos-quartet-at-sfjazz-center/\" target=\"_blank\" rel=\"noopener\">Terry Riley Festival at SF Jazz\u003c/a>, a series of sold-out concerts attended by thousands, and what Harrington describes as the biggest event Kronos had ever worked on. But after Coulter played the track for Harrington, the world-renowned violinist wanted to jump on it right away. After receiving permission from Carney, Harrington asked a composer to work overnight to arrange a version for the quartet to play at the festival.\u003c/p>\n\u003cp>That plan shifted slightly — the arrangement was ready in time, but “we didn’t have the brain cells available to do it at the Riley Festival” in the end, says Harrington.\u003c/p>\n\u003cfigure id=\"attachment_11268314\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11268314\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg\" alt=\"Ralph Carney, 2015\" width=\"413\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-400x582.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP.jpg 599w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney, 2015 \u003ccite>(Photo: Dennis Hearne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, the quartet prepared the piece for the Cabrillo Festival of Contemporary Music in Santa Cruz. And this time, they invited Carney to join their rehearsal.\u003c/p>\n\u003cp>After running through the song twice, Harrington asked if Carney would join them onstage at the festival to play their version of his composition.\u003c/p>\n\u003cp>“I was really surprised I didn’t cry when I was doing it,” Carney says.\u003c/p>\n\u003cp>Since that performance, Carney has moved to Portland, thanks to the rising cost of living in San Francisco. But his experience playing with Kronos was a perfect sendoff, he says, after living in the city for 28 years. Carney says he’s known the feeling of validation before, but that moment onstage was unlike any other experience: It wasn’t just a job. He had written a song to combat the sadness that followed a national tragedy — and people not only wanted to hear it, they wanted it to be heard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there’s this: Carney, who turns 60 on Jan. 23, says writing “Lament for Charleston” fundamentally changed the way he composes music. Instead of crafting each note, he improvises completely, letting his heart write the song.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pixar’s New App Gives the Blind a New Way to Experience Movies",
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"content": "\u003cp>While we all love going to the movies, the experience often becomes a huge challenge for the blind and low-vision community when the visual aids provided by theaters are broken (or can’t even be found). Fortunately, that may be about to change.\u003c/p>\n\u003cp>Pixar Studios is developing an app that syncs your \u003ca href=\"http://ww2.kqed.org/news/2016/01/23/pixar-new-app-gives-blind-new-way-to-experience-movies\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2016/01/23/pixar-new-app-gives-blind-new-way-to-experience-movies\" target=\"_blank\" title=\"Pixar’s New App Gives the Blind a New Way to Experience Movies\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>While we all love going to the movies, the experience often becomes a huge challenge for the blind and low-vision community when the visual aids provided by theaters are broken (or can't even be found). Fortunately, that may be about to change.\u003c/p>\n\u003cp>Pixar Studios is developing an app that syncs your \u003ca href=\"http://ww2.kqed.org/news/2016/01/23/pixar-new-app-gives-blind-new-way-to-experience-movies\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While we all love going to the movies, the experience often becomes a huge challenge for the blind and low-vision community when the visual aids provided by theaters are broken (or can’t even be found). Fortunately, that may be about to change.\u003c/p>\n\u003cp>Pixar Studios is developing an app that syncs your \u003ca href=\"http://ww2.kqed.org/news/2016/01/23/pixar-new-app-gives-blind-new-way-to-experience-movies\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2016/01/23/pixar-new-app-gives-blind-new-way-to-experience-movies\" target=\"_blank\" title=\"Pixar’s New App Gives the Blind a New Way to Experience Movies\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Over 40 Years of Fine Printmaking at UC Santa Cruz Celebrated in Exhibit",
"headTitle": "Over 40 Years of Fine Printmaking at UC Santa Cruz Celebrated in Exhibit | KQED",
"content": "\u003cp>Back in the early 1970s, a couple of UC Santa Cruz students wanted to take a class in letterpress book printing. There being no such class, SB Masters and Tom Whitridge lined up a potential teacher, respected San Francisco typographer Jack Stauffacher, and then a grant to cover his pay. Soon after that, poet and printer William Everson began teaching at UCSC, too. Over time, the program grew to offer UCSC students all sorts of classes, in typography, design, printmaking and book making.\u003c/p>\n\u003cp>A new exhibit at the \u003ca href=\"http://cowell.ucsc.edu/smith-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">Eloise Pickard Smith Gallery\u003c/a> that opens this weekend called \u003ca href=\"https://events.ucsc.edu/event/3443\" target=\"_blank\" rel=\"noopener noreferrer\">Pressing On: Selected Works from the Cowell Press\u003c/a> explores the legacy of the UCSC program. On Saturday, there will be a panel discussion at the Page Smith Library that features the current head of the program, \u003ca href=\"http://www.gary-young.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Young\u003c/a>, and a couple of star alums, including \u003ca href=\"http://movingpartspress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Felicia Rice\u003c/a> and \u003ca href=\"http://www.tomkillion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Killion\u003c/a>.\u003c/p>\n\u003cp>“That was a wonderful moment in time at UC Santa Cruz,” says Killion, whose work has been exhibited in California, New York and Europe. “There were all these wonderful professors who had come to participate in a world-class experiment.”\u003c/p>\n\u003cp>Killion hails from Marin County and currently lives near Point Reyes. But for many decades, he lived in Santa Cruz County, starting with a stint at UC Santa Cruz in the early 1970s. That’s where his career started — “inadvertently,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11268205\" class=\"wp-caption aligncenter\" style=\"max-width: 701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11268205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg\" alt=\"“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion.\" width=\"701\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg 701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-400x342.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip.jpeg 720w\" sizes=\"(max-width: 701px) 100vw, 701px\">\u003cfigcaption class=\"wp-caption-text\">“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion. \u003ccite>(Courtesy: Tom Killion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was a history major making a book of linoleum prints of Mt. Tamalpais in his spare time when a friend told him about a class taught by Stauffacher. “He had a Zen way of teaching. He didn’t show us how to print. So the students showed each other the technical aspects. He’d be talking about the great European type designers of the 20th century – which was way over our heads – but it got us inspired,” Killion says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Killion was hooked. He went on to spend the summer after he graduated making his book, \u003cem>28 views of Mount Tamalpais\u003c/em>, inspired by Hokusai’s \u003ca href=\"http://www.hokusaionline.co.uk/code/36_views_mount_fuji.html\" target=\"_blank\" rel=\"noopener noreferrer\">36 Views of Mount Fuji\u003c/a>. Thus began Killion’s long career celebrating the coastal landscape of California in a style adapted from the traditional Japanese aesthetic of \u003ca href=\"https://en.wikipedia.org/wiki/Ukiyo-e\" target=\"_blank\" rel=\"noopener noreferrer\">Ukiyo-ë\u003c/a>.\u003c/p>\n\u003cp>Rice arrived in 1974. “When I came to Santa Cruz, it was because of the Press. I found exactly what I needed,” Rice says, whose work has been exhibited all over the world.\u003c/p>\n\u003cfigure id=\"attachment_11265765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265765 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg\" alt=\"Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-960x644.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya. \u003ccite>(Courtesy Felicia Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santa Cruz developed a book arts community, Rice says, that soon became a well-regarded hub nationally and internationally. Many students went on to work in book design in New York, and digital design in Silicon Valley.\u003c/p>\n\u003cp>“It was a very tight group of people who were anxious to teach and learn from each other,” Rice says.\u003c/p>\n\u003cp>[contextly_sidebar id=”C29qtkB1iei9oLJyF0FncB8UWTmdayFk”] Thanks to Silicon Valley, she says, fine-art printing has been revolutionized. “We were practicing an archaic craft, and over the years, as digital tools made more things possible to more people, everybody got involved.” She adds the craft has gone from being dominated by men to being dominated by women. “I was one of the few women doing it, and now that is not the case!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who’s coming up now through Cowell Press? Judge for yourself. \u003cem>Pressing On\u003c/em> features work from current students, as well as from the archives, and will be up at the Eloise Pickard Smith Gallery through March 4.\u003c/p>\n\n",
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"excerpt": "A new exhibit highlights more than 40 years of letterpress and other arts at Cowell Press in Santa Cruz.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in the early 1970s, a couple of UC Santa Cruz students wanted to take a class in letterpress book printing. There being no such class, SB Masters and Tom Whitridge lined up a potential teacher, respected San Francisco typographer Jack Stauffacher, and then a grant to cover his pay. Soon after that, poet and printer William Everson began teaching at UCSC, too. Over time, the program grew to offer UCSC students all sorts of classes, in typography, design, printmaking and book making.\u003c/p>\n\u003cp>A new exhibit at the \u003ca href=\"http://cowell.ucsc.edu/smith-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">Eloise Pickard Smith Gallery\u003c/a> that opens this weekend called \u003ca href=\"https://events.ucsc.edu/event/3443\" target=\"_blank\" rel=\"noopener noreferrer\">Pressing On: Selected Works from the Cowell Press\u003c/a> explores the legacy of the UCSC program. On Saturday, there will be a panel discussion at the Page Smith Library that features the current head of the program, \u003ca href=\"http://www.gary-young.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Young\u003c/a>, and a couple of star alums, including \u003ca href=\"http://movingpartspress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Felicia Rice\u003c/a> and \u003ca href=\"http://www.tomkillion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Killion\u003c/a>.\u003c/p>\n\u003cp>“That was a wonderful moment in time at UC Santa Cruz,” says Killion, whose work has been exhibited in California, New York and Europe. “There were all these wonderful professors who had come to participate in a world-class experiment.”\u003c/p>\n\u003cp>Killion hails from Marin County and currently lives near Point Reyes. But for many decades, he lived in Santa Cruz County, starting with a stint at UC Santa Cruz in the early 1970s. That’s where his career started — “inadvertently,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11268205\" class=\"wp-caption aligncenter\" style=\"max-width: 701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11268205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg\" alt=\"“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion.\" width=\"701\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg 701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-400x342.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip.jpeg 720w\" sizes=\"(max-width: 701px) 100vw, 701px\">\u003cfigcaption class=\"wp-caption-text\">“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion. \u003ccite>(Courtesy: Tom Killion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was a history major making a book of linoleum prints of Mt. Tamalpais in his spare time when a friend told him about a class taught by Stauffacher. “He had a Zen way of teaching. He didn’t show us how to print. So the students showed each other the technical aspects. He’d be talking about the great European type designers of the 20th century – which was way over our heads – but it got us inspired,” Killion says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Killion was hooked. He went on to spend the summer after he graduated making his book, \u003cem>28 views of Mount Tamalpais\u003c/em>, inspired by Hokusai’s \u003ca href=\"http://www.hokusaionline.co.uk/code/36_views_mount_fuji.html\" target=\"_blank\" rel=\"noopener noreferrer\">36 Views of Mount Fuji\u003c/a>. Thus began Killion’s long career celebrating the coastal landscape of California in a style adapted from the traditional Japanese aesthetic of \u003ca href=\"https://en.wikipedia.org/wiki/Ukiyo-e\" target=\"_blank\" rel=\"noopener noreferrer\">Ukiyo-ë\u003c/a>.\u003c/p>\n\u003cp>Rice arrived in 1974. “When I came to Santa Cruz, it was because of the Press. I found exactly what I needed,” Rice says, whose work has been exhibited all over the world.\u003c/p>\n\u003cfigure id=\"attachment_11265765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265765 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg\" alt=\"Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-960x644.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya. \u003ccite>(Courtesy Felicia Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santa Cruz developed a book arts community, Rice says, that soon became a well-regarded hub nationally and internationally. Many students went on to work in book design in New York, and digital design in Silicon Valley.\u003c/p>\n\u003cp>“It was a very tight group of people who were anxious to teach and learn from each other,” Rice says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp> Thanks to Silicon Valley, she says, fine-art printing has been revolutionized. “We were practicing an archaic craft, and over the years, as digital tools made more things possible to more people, everybody got involved.” She adds the craft has gone from being dominated by men to being dominated by women. “I was one of the few women doing it, and now that is not the case!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who’s coming up now through Cowell Press? Judge for yourself. \u003cem>Pressing On\u003c/em> features work from current students, as well as from the archives, and will be up at the Eloise Pickard Smith Gallery through March 4.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The film academy is pledging to double the number of female and minority members by 2020, and will immediately diversify its leadership by adding three new seats to its board of governors.\u003c/p>\n\u003cp>Academy president Cheryl Boone Isaacs announced the changes Friday, following a weeklong storm of criticism and calls for an Oscar boycott after academy members nominated an all-white slate of actors for the second year in a row.\u003c/p>\n\u003cp>“The Academy is going to lead and not wait for the industry to catch up,” she said in a statement.\u003c/p>\n\u003cp>The Academy of Motion Picture Arts and Sciences’ 51-member board of governors unanimously approved a series of reforms late Thursday to “begin the process of significantly changing our membership composition,” Isaacs said. The number of minorities currently serving as members of the academy has not been revealed.\u003c/p>\n\u003cp>Several of Hollywood’s most prominent African-Americans, including Will Smith and Spike Lee, have said they won’t attend this year’s Oscars, which is to be hosted by Chris Rock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other changes include limiting members’ voting status to a period of 10 years, to be extended only if the individual remains active in film during that decade. Lifetime voting rights will be granted only to Academy Award nominees and winners, and to members after three ten-year voting terms. Previously, all active members received lifetime voting rights.\u003c/p>\n\u003cp>The organization also plans to diversify its leadership beyond the board of governors by adding new members to key decision-making committees, and further diversify its membership with a global campaign to identify and recruit diverse talent.\u003c/p>\n\u003cp>Reaction came swiftly. Ava DuVernay, director of last year’s best picture-nominee \u003cem>Selma\u003c/em>, tweeted that the changes were “one good step in a long, complicated journey for people of color and women artists.” She added: “Shame is a helluva motivator.”\u003c/p>\n\u003cp>“Marginalized artists have advocated for Academy change for DECADES,” DuVernay wrote. “Actual campaigns. Calls voiced FROM THE STAGE. Deaf ears. Clòsed minds.\u003c/p>\n\u003cp>And director Rick Famuyiwa, whose films include \u003cem>The Wood\u003c/em> and \u003cem>Brown Sugar\u003c/em>, commented: “The devil is in the details.”\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.oscars.org/news/academy-takes-historic-action-increase-diversity\" target=\"_blank\" rel=\"noopener\">Read the Academy’s announcement on their website\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The film academy is pledging to double the number of female and minority members by 2020, and will immediately diversify its leadership by adding three new seats to its board of governors.\u003c/p>\n\u003cp>Academy president Cheryl Boone Isaacs announced the changes Friday, following a weeklong storm of criticism and calls for an Oscar boycott after academy members nominated an all-white slate of actors for the second year in a row.\u003c/p>\n\u003cp>“The Academy is going to lead and not wait for the industry to catch up,” she said in a statement.\u003c/p>\n\u003cp>The Academy of Motion Picture Arts and Sciences’ 51-member board of governors unanimously approved a series of reforms late Thursday to “begin the process of significantly changing our membership composition,” Isaacs said. The number of minorities currently serving as members of the academy has not been revealed.\u003c/p>\n\u003cp>Several of Hollywood’s most prominent African-Americans, including Will Smith and Spike Lee, have said they won’t attend this year’s Oscars, which is to be hosted by Chris Rock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other changes include limiting members’ voting status to a period of 10 years, to be extended only if the individual remains active in film during that decade. Lifetime voting rights will be granted only to Academy Award nominees and winners, and to members after three ten-year voting terms. Previously, all active members received lifetime voting rights.\u003c/p>\n\u003cp>The organization also plans to diversify its leadership beyond the board of governors by adding new members to key decision-making committees, and further diversify its membership with a global campaign to identify and recruit diverse talent.\u003c/p>\n\u003cp>Reaction came swiftly. Ava DuVernay, director of last year’s best picture-nominee \u003cem>Selma\u003c/em>, tweeted that the changes were “one good step in a long, complicated journey for people of color and women artists.” She added: “Shame is a helluva motivator.”\u003c/p>\n\u003cp>“Marginalized artists have advocated for Academy change for DECADES,” DuVernay wrote. “Actual campaigns. Calls voiced FROM THE STAGE. Deaf ears. Clòsed minds.\u003c/p>\n\u003cp>And director Rick Famuyiwa, whose films include \u003cem>The Wood\u003c/em> and \u003cem>Brown Sugar\u003c/em>, commented: “The devil is in the details.”\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.oscars.org/news/academy-takes-historic-action-increase-diversity\" target=\"_blank\" rel=\"noopener\">Read the Academy’s announcement on their website\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Will Smith says he will not attend the Academy Awards next month, joining his wife, Jada Pinkett Smith, and others in protest against two straight years of all-white acting nominees. Best supporting actor nominee Mark Ruffalo also says he’s considering skipping the ceremony.\u003c/p>\n\u003cp>“My wife’s not going. It would be awkward for me to show up with Charlize (Theron),” said Smith on ABC’s \u003cem>Good Morning America\u003c/em> on Thursday. “We’ve discussed it, but at this current time, we’re uncomfortable to stand there and say this is OK.”\u003c/p>\n\u003cp>Smith, who some thought might be nominated for his performance in the football drama “Concussion,” said his decision was “deeply not about me.”\u003c/p>\n\u003cp>“This is about children that are going to sit down and they’re going to watch the show and they’re not going to see themselves represented,” said Smith.\u003c/p>\n\u003cp>Smith, who would likely have been a sought-after presenter at the Feb. 28 ceremony, becomes the biggest name to join a boycott of the Academy Awards following announcements by Spike Lee (an honorary Oscar recipient this year) and Pinkett Smith.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ruffalo, nominated for his performance in the newspaper drama “Spotlight,” said Thursday that he’s mulling joining the protest.\u003c/p>\n\u003cp>“I’m weighing it, that’s where I’m at right now,” Ruffalo told BBC News. “I woke up in the morning thinking, ‘What is the right way to do this?’ Because if you look at Martin Luther King’s legacy, what he was saying was that the good people who don’t act are much worse than the wrongdoers who are purposefully not acting and don’t know the right way.”\u003c/p>\n\u003cp>One of the acting nominees joining the boycott would add a new chapter in the backlash that has roiled the Academy of Motion Pictures Arts and Sciences. Following the announcements by Lee and Pinkett Smith, academy President Cheryl Boone Isaacs has pledged “dramatic changes” to diversity in the academy’s membership.\u003c/p>\n\u003cp>Smith, who has been nominated twice before, for 2001’s \u003cem>Ali\u003c/em> and 2006’s \u003cem>The Pursuit of Happyness\u003c/em>, said he believes the industry can do better.\u003c/p>\n\u003cp>“Diversity is the American superpower. That’s why we’re great,” said Smith. “When I look at the series of nominations of the academy, it’s not reflecting that beauty.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ruffalo, nominated for his performance in the newspaper drama “Spotlight,” said Thursday that he’s mulling joining the protest.\u003c/p>\n\u003cp>“I’m weighing it, that’s where I’m at right now,” Ruffalo told BBC News. “I woke up in the morning thinking, ‘What is the right way to do this?’ Because if you look at Martin Luther King’s legacy, what he was saying was that the good people who don’t act are much worse than the wrongdoers who are purposefully not acting and don’t know the right way.”\u003c/p>\n\u003cp>One of the acting nominees joining the boycott would add a new chapter in the backlash that has roiled the Academy of Motion Pictures Arts and Sciences. Following the announcements by Lee and Pinkett Smith, academy President Cheryl Boone Isaacs has pledged “dramatic changes” to diversity in the academy’s membership.\u003c/p>\n\u003cp>Smith, who has been nominated twice before, for 2001’s \u003cem>Ali\u003c/em> and 2006’s \u003cem>The Pursuit of Happyness\u003c/em>, said he believes the industry can do better.\u003c/p>\n\u003cp>“Diversity is the American superpower. That’s why we’re great,” said Smith. “When I look at the series of nominations of the academy, it’s not reflecting that beauty.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the Super Bowl’s golden anniversary, Annice Jacoby is making a blanket.\u003c/p>\n\u003cp>The blanket doesn’t show the insignias of the two competing teams. The handmade bed covering doesn’t bear much at all, in fact, aside from the symbol of two hands raised palms-up, silk-screened in black and white.\u003c/p>\n\u003cp>While Super Bowl 50 will attract a deluge of well-heeled tourists to the Bay Area over the next few weeks, Jacoby’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">blanket art project\u003c/a> attempts to draw attention to a part of the city people would much rather ignore: those struggling with homelessness.\u003c/p>\n\u003cp>In response to Mayor Ed Lee’s \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Nothing-like-a-Super-Bowl-to-fix-S-F-s-6472820.php\" target=\"_blank\" rel=\"noopener\">plans\u003c/a> to move the homeless community out of the streets in preparation for the Super Bowl, citing safety and legal issues, Jacoby, a co-founder of the art organization \u003ca href=\"https://www.facebook.com/SFCityOfPoets\" target=\"_blank\" rel=\"noopener\">City of Poets\u003c/a>, teamed up with several local partners including \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a> to create a series of handmade blankets to give away to people living on the streets.\u003c/p>\n\u003cp>“What we’re doing is geared around the fact that the city has chosen to have a clean sweep to make the city a little more appealing for the Super Bowl party,” Jacoby says. “The intense escalation of the issue has created a public numbness. Our goal is to use creativity to unite.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jacoby and her team are working around the clock to make the blankets. Their handiwork doubles as a waterproof poncho with inside pockets to hold a book, a sandwich and a pair of socks. Project collaborator has composed a special song, which the group hopes will inspire others to join their cause.\u003c/p>\n\u003cp>Volunteers will distribute the blankets to those in need during the nine-day Super Bowl event and encourage the public to use social media or speak to public officials directly every time they spot one of the special blankets out in the community.\u003c/p>\n\u003cp>“We wanted to start distributing and documenting on social media the week before the Super Bowl, since that’s when people will be really focusing on San Francisco on a national level,” says Mary Hogue, co-owner of \u003ca href=\"https://www.facebook.com/missionpraxis/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a>, a locally-made clothing store and community art space, and one of the partners on the project.\u003c/p>\n\u003cp>Jacoby approached Hogue and her business partner Aerin Willey to host sewing circles which would not only gather the helping hands needed for production, but also encourage discussion on the issue of homelessness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s giving people something to do that’s helpful and creative,” Hogue says. “It’s an act of aggressive movement in a non-divisive way. The average person on the street has a sense of helplessness and we’re trying to change it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the Super Bowl’s golden anniversary, Annice Jacoby is making a blanket.\u003c/p>\n\u003cp>The blanket doesn’t show the insignias of the two competing teams. The handmade bed covering doesn’t bear much at all, in fact, aside from the symbol of two hands raised palms-up, silk-screened in black and white.\u003c/p>\n\u003cp>While Super Bowl 50 will attract a deluge of well-heeled tourists to the Bay Area over the next few weeks, Jacoby’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">blanket art project\u003c/a> attempts to draw attention to a part of the city people would much rather ignore: those struggling with homelessness.\u003c/p>\n\u003cp>In response to Mayor Ed Lee’s \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Nothing-like-a-Super-Bowl-to-fix-S-F-s-6472820.php\" target=\"_blank\" rel=\"noopener\">plans\u003c/a> to move the homeless community out of the streets in preparation for the Super Bowl, citing safety and legal issues, Jacoby, a co-founder of the art organization \u003ca href=\"https://www.facebook.com/SFCityOfPoets\" target=\"_blank\" rel=\"noopener\">City of Poets\u003c/a>, teamed up with several local partners including \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a> to create a series of handmade blankets to give away to people living on the streets.\u003c/p>\n\u003cp>“What we’re doing is geared around the fact that the city has chosen to have a clean sweep to make the city a little more appealing for the Super Bowl party,” Jacoby says. “The intense escalation of the issue has created a public numbness. Our goal is to use creativity to unite.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jacoby and her team are working around the clock to make the blankets. Their handiwork doubles as a waterproof poncho with inside pockets to hold a book, a sandwich and a pair of socks. Project collaborator has composed a special song, which the group hopes will inspire others to join their cause.\u003c/p>\n\u003cp>Volunteers will distribute the blankets to those in need during the nine-day Super Bowl event and encourage the public to use social media or speak to public officials directly every time they spot one of the special blankets out in the community.\u003c/p>\n\u003cp>“We wanted to start distributing and documenting on social media the week before the Super Bowl, since that’s when people will be really focusing on San Francisco on a national level,” says Mary Hogue, co-owner of \u003ca href=\"https://www.facebook.com/missionpraxis/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a>, a locally-made clothing store and community art space, and one of the partners on the project.\u003c/p>\n\u003cp>Jacoby approached Hogue and her business partner Aerin Willey to host sewing circles which would not only gather the helping hands needed for production, but also encourage discussion on the issue of homelessness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s giving people something to do that’s helpful and creative,” Hogue says. “It’s an act of aggressive movement in a non-divisive way. The average person on the street has a sense of helplessness and we’re trying to change it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a disturbance in the force.\u003c/p>\n\u003cp>The release of \u003cem>Star Wars: Episode VIII\u003c/em> has been delayed from May 2017 to Dec. 15, 2017, the Walt Disney Co. announced Wednesday. The date change postpones the next \u003cem>Star Wars\u003c/em> installment set to follow the box-office hit \u003cem>The Force Awakens\u003c/em>.\u003c/p>\n\u003cp>Though \u003cem>Star Wars\u003c/em> was once synonymous with the summer blockbuster, the date change means that the franchise will again look to dominate movie theaters in the holiday season. It has proven a lucrative match for \u003cem>The Force Awakens\u003c/em>, which has made a record $861 million domestically and $1.88 billion globally in five weeks of release.\u003c/p>\n\u003cp>Disney offered no reason for the delay, but rumors have recently swirled that writer-director Rian Johnson (\u003cem>Looper\u003c/em>), who is taking over for J.J. Abrams, is rewriting the script. Production is set to begin next month in London.\u003c/p>\n\u003cp>In the interim, Gareth Edwards’ \u003cem>Star Wars\u003c/em> spin-off \u003cem>Rogue One\u003c/em> is due out Dec. 16 this year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With prominent release dates now staked out by studios years in advance for their largest franchises, the impact of the switch immediately caused ripples.\u003c/p>\n\u003cp>The new date sets up a potential but unlikely head-to-head between \u003cem>Star Wars\u003c/em> and \u003cem>Avatar\u003c/em>. James Cameron’s \u003cem>Avatar 2\u003c/em> had been planned for Christmas 2017, though few expect 20th Century Fox to hit that date with the much-delayed \u003cem>Avatar\u003c/em> sequel. A spokesman for Fox didn’t immediately respond to an email Wednesday.\u003c/p>\n\u003cp>One movie definitely affected is Steven Spielberg’s \u003cem>Ready Player One\u003c/em>, a science-fiction release for Warner Bros. It’s scheduled for the same Dec. 15 weekend in 2017.\u003c/p>\n\u003cp>Disney moved one of its other billion-dollar franchises, \u003cem>Pirates of the Caribbean\u003c/em>, to May 26, 2017. The Johnny Depp series returns with \u003cem>Dead Men Tell No Tales\u003c/em>.\u003c/p>\n\u003cp>At the same time, Sony Pictures moved two of its biggest movies into summer 2017. The next \u003cem>Spider-Man\u003c/em>, starring Tom Holland and directed by Jon Watts, shifted up three weeks to July 28, 2017. Jake Kasdan’s \u003cem>Jumanji\u003c/em> remake shifted from Christmas 2016 to July 28, 2017.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a disturbance in the force.\u003c/p>\n\u003cp>The release of \u003cem>Star Wars: Episode VIII\u003c/em> has been delayed from May 2017 to Dec. 15, 2017, the Walt Disney Co. announced Wednesday. The date change postpones the next \u003cem>Star Wars\u003c/em> installment set to follow the box-office hit \u003cem>The Force Awakens\u003c/em>.\u003c/p>\n\u003cp>Though \u003cem>Star Wars\u003c/em> was once synonymous with the summer blockbuster, the date change means that the franchise will again look to dominate movie theaters in the holiday season. It has proven a lucrative match for \u003cem>The Force Awakens\u003c/em>, which has made a record $861 million domestically and $1.88 billion globally in five weeks of release.\u003c/p>\n\u003cp>Disney offered no reason for the delay, but rumors have recently swirled that writer-director Rian Johnson (\u003cem>Looper\u003c/em>), who is taking over for J.J. Abrams, is rewriting the script. Production is set to begin next month in London.\u003c/p>\n\u003cp>In the interim, Gareth Edwards’ \u003cem>Star Wars\u003c/em> spin-off \u003cem>Rogue One\u003c/em> is due out Dec. 16 this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With prominent release dates now staked out by studios years in advance for their largest franchises, the impact of the switch immediately caused ripples.\u003c/p>\n\u003cp>The new date sets up a potential but unlikely head-to-head between \u003cem>Star Wars\u003c/em> and \u003cem>Avatar\u003c/em>. James Cameron’s \u003cem>Avatar 2\u003c/em> had been planned for Christmas 2017, though few expect 20th Century Fox to hit that date with the much-delayed \u003cem>Avatar\u003c/em> sequel. A spokesman for Fox didn’t immediately respond to an email Wednesday.\u003c/p>\n\u003cp>One movie definitely affected is Steven Spielberg’s \u003cem>Ready Player One\u003c/em>, a science-fiction release for Warner Bros. It’s scheduled for the same Dec. 15 weekend in 2017.\u003c/p>\n\u003cp>Disney moved one of its other billion-dollar franchises, \u003cem>Pirates of the Caribbean\u003c/em>, to May 26, 2017. The Johnny Depp series returns with \u003cem>Dead Men Tell No Tales\u003c/em>.\u003c/p>\n\u003cp>At the same time, Sony Pictures moved two of its biggest movies into summer 2017. The next \u003cem>Spider-Man\u003c/em>, starring Tom Holland and directed by Jon Watts, shifted up three weeks to July 28, 2017. Jake Kasdan’s \u003cem>Jumanji\u003c/em> remake shifted from Christmas 2016 to July 28, 2017.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "van-anh-vo-transforms-a-refugees-odyssey-into-a-musical-performance",
"title": "Vân-Ánh Võ Transforms a Refugee's Odyssey into a Musical Performance",
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"content": "\u003cp>Whenever musician and composer \u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ \u003c/a>gets together with her friends in the Vietnamese American community, she says, “After having food, after having fun, we all end up talking how we came here.”\u003c/p>\n\u003cp>Võ grew up in Hanoi and left in 1995, when the U.S. normalized relations with the Vietnam. But she learned that many of her friends in the South Bay’s large Vietnamese-American community were “boat people,” meaning they were part of the hundreds of thousands who fled Vietnam on overcrowded boats in the late ’70s and survived terrible hardships on the South China Sea.\u003c/p>\n\u003cp>“And the more I hear about their story,” Võ said, “the more I wanted to share this. Especially since the middle of last year, when boat people from Syria came on the news.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/243326138″ 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>So Võ wrote \u003cem>\u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">The Odyssey: From Vietnam to America\u003c/a>\u003c/em>, a multimedia suite for quartet, video, audio samples and electronics. The music is about the terrors the boat people faced, which included “starvation, drowning, pirates.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E_i_HkeqN5E\u003c/p>\n\u003cp>But Võ says that the piece is also about how some on the boat kept up their spirits by humming lullabies to themselves, including this one from the south of Vietnam (translated by Võ):\u003c/p>\n\u003cblockquote>\u003cp>“My little dear child, just sleep,\u003cbr>\nAnd I am here for you.\u003cbr>\nI know the road is not easy,\u003cbr>\nbut I will take you in hand, and walk you.\u003cbr>\nAnd you know you have to take the exam,\u003cbr>\nbut I have to take the test of life.”\u003c/p>\u003c/blockquote>\n\u003cp>We talked last week in Võ’s studio, located in the damp garage of her Fremont home, where she lives with her husband and two kids. Playing music is a family tradition — her father played guitar in the North Vietnamese army during the war — and her studio is crowded with instruments. She has won awards for her mastery of Vietnamese folk music and her skill with traditional instruments, especially the Vietnamese zither, which is called the \u003ca href=\"http://www.tienghatquehuong.com/instruments/DanTranh.htm\" target=\"_blank\" rel=\"noopener\">đàn tranh.\u003c/a> She has more than 20 đàn tranhs, many of her own design.\u003c/p>\n\u003cfigure id=\"attachment_11262346\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg\" alt=\"Van-Anh Vo playing a Dan Tranh of her own design\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ playing a đàn tranh of her own design \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since her move to the U.S., Võ has won an Emmy for a documentary soundtrack she wrote, and she’s \u003ca href=\"http://www.innova.mu/albums/van-anh-vanessa-vo/three-mountain-pass\" target=\"_blank\" rel=\"noopener\">collaborated often\u003c/a> with San Francisco’s \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11262289\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262289\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1180.jpg\" alt=\"Van-Anh Vo Album with Kronos Quartet \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1179.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-960x959.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album.jpg 1433w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Van-Anh Vo Album with Kronos Quartet\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>The Odyssey\u003c/em>, she’s working with her own band, Vân-Ánh Võ Quartet, the members of which play cello, accordion, traditional Vietnamese instruments and Taiko drums. Her suite incorporates traditional sounds: Võ plays the đàn tranh, the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_b%E1%BA%A7u\" target=\"_blank\" rel=\"noopener\">single-stringed đàn bầu\u003c/a> and a bamboo xylophone. Plus there are layers of electronics and even a version of the old blues song “House of the Rising Sun,” included because Võ remembers when the \u003ca href=\"https://www.youtube.com/watch?v=hRXb7K7k7bQ\" target=\"_blank\" rel=\"noopener\">1964 version by The Animals\u003c/a> became popular in Vietnam.\u003c/p>\n\u003cfigure id=\"attachment_11262402\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262402\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg\" alt=\"Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \" width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ did 60 interviews with boat people for her research, who she connected with through Santa Clara’s \u003ca href=\"http://aaci.org/\" target=\"_blank\" rel=\"noopener\">Asian Americans for Community Involvement (AACI)\u003c/a>, founded in 1979 to provide medical and psychiatric services for Vietnamese refugees.\u003c/p>\n\u003cp>“Many in our community,” said AACI’s Michele Lew, “we know they would never walk through our mental health counseling door because of the stigma.” But may find some therapeutic help by informing the artist and helping her get the story right.\u003c/p>\n\u003cfigure id=\"attachment_11260357\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11260357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg\" alt=\"Michelle Lew and Cam Vu of AACI\" width=\"640\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1920x1101.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-960x550.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">President Michelle Lew and Development Director Cam Vu of AACI \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mai Bui, a software engineer, shared her story with Võ. Bui lives in Milipitas, in a house where photos of her three daughters cover her mantle. She and her brother left their family behind in prison in 1979, and spent days on a crowded boat without food or water, until a Thai merchant ship towed them into Bangkok. They ran at night to avoid pirates.\u003c/p>\n\u003cp>“The ocean sound is really romantic,” Bui recalled, “but at that time, it’s scary, up to this point I cannot look at the Ocean or the sea at night. It still bring back my memory.”\u003c/p>\n\u003cfigure id=\"attachment_11262401\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262401\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg\" alt=\"Mai Bui\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mai Bui \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ is having a busy new year. Besides performing her new suite, she’s also writing a \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">đàn tranh concerto for the Oakland Symphony,\u003c/a> which is set to premiere Feb. 12 at the Paramount Theater, and she’s performing Feb. 6 at SFJAZZ as part of the \u003ca href=\"http://www.kronosquartet.org/kronos-presents\" target=\"_blank\" rel=\"noopener\">Kronos Festival\u003c/a>. After that, she takes \u003cem>The Odyssey\u003c/em> to the Kennedy Center in Washington D.C., then to Houston and Orange County, which is home to many Vietnamese Americans.\u003c/p>\n\u003cp>Võ says there’s a higher message in her music: a plea for nations to take in refugees, and a protest of the wars that divide us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To let unheard voices, be voiced,” she said.\u003c/p>\n\n",
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"excerpt": "The Emmy-winning composer has written a new multimedia piece that tells the story of the \"boat people:\" Vietnamese refugees who came to this country following the Vietnam War. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whenever musician and composer \u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ \u003c/a>gets together with her friends in the Vietnamese American community, she says, “After having food, after having fun, we all end up talking how we came here.”\u003c/p>\n\u003cp>Võ grew up in Hanoi and left in 1995, when the U.S. normalized relations with the Vietnam. But she learned that many of her friends in the South Bay’s large Vietnamese-American community were “boat people,” meaning they were part of the hundreds of thousands who fled Vietnam on overcrowded boats in the late ’70s and survived terrible hardships on the South China Sea.\u003c/p>\n\u003cp>“And the more I hear about their story,” Võ said, “the more I wanted to share this. Especially since the middle of last year, when boat people from Syria came on the news.”\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/243326138″&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/243326138″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So Võ wrote \u003cem>\u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">The Odyssey: From Vietnam to America\u003c/a>\u003c/em>, a multimedia suite for quartet, video, audio samples and electronics. The music is about the terrors the boat people faced, which included “starvation, drowning, pirates.”\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/E_i_HkeqN5E'\n title='//www.youtube.com/embed/E_i_HkeqN5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Võ says that the piece is also about how some on the boat kept up their spirits by humming lullabies to themselves, including this one from the south of Vietnam (translated by Võ):\u003c/p>\n\u003cblockquote>\u003cp>“My little dear child, just sleep,\u003cbr>\nAnd I am here for you.\u003cbr>\nI know the road is not easy,\u003cbr>\nbut I will take you in hand, and walk you.\u003cbr>\nAnd you know you have to take the exam,\u003cbr>\nbut I have to take the test of life.”\u003c/p>\u003c/blockquote>\n\u003cp>We talked last week in Võ’s studio, located in the damp garage of her Fremont home, where she lives with her husband and two kids. Playing music is a family tradition — her father played guitar in the North Vietnamese army during the war — and her studio is crowded with instruments. She has won awards for her mastery of Vietnamese folk music and her skill with traditional instruments, especially the Vietnamese zither, which is called the \u003ca href=\"http://www.tienghatquehuong.com/instruments/DanTranh.htm\" target=\"_blank\" rel=\"noopener\">đàn tranh.\u003c/a> She has more than 20 đàn tranhs, many of her own design.\u003c/p>\n\u003cfigure id=\"attachment_11262346\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg\" alt=\"Van-Anh Vo playing a Dan Tranh of her own design\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ playing a đàn tranh of her own design \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since her move to the U.S., Võ has won an Emmy for a documentary soundtrack she wrote, and she’s \u003ca href=\"http://www.innova.mu/albums/van-anh-vanessa-vo/three-mountain-pass\" target=\"_blank\" rel=\"noopener\">collaborated often\u003c/a> with San Francisco’s \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11262289\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262289\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1180.jpg\" alt=\"Van-Anh Vo Album with Kronos Quartet \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1179.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-960x959.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album.jpg 1433w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Van-Anh Vo Album with Kronos Quartet\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>The Odyssey\u003c/em>, she’s working with her own band, Vân-Ánh Võ Quartet, the members of which play cello, accordion, traditional Vietnamese instruments and Taiko drums. Her suite incorporates traditional sounds: Võ plays the đàn tranh, the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_b%E1%BA%A7u\" target=\"_blank\" rel=\"noopener\">single-stringed đàn bầu\u003c/a> and a bamboo xylophone. Plus there are layers of electronics and even a version of the old blues song “House of the Rising Sun,” included because Võ remembers when the \u003ca href=\"https://www.youtube.com/watch?v=hRXb7K7k7bQ\" target=\"_blank\" rel=\"noopener\">1964 version by The Animals\u003c/a> became popular in Vietnam.\u003c/p>\n\u003cfigure id=\"attachment_11262402\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262402\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg\" alt=\"Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \" width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ did 60 interviews with boat people for her research, who she connected with through Santa Clara’s \u003ca href=\"http://aaci.org/\" target=\"_blank\" rel=\"noopener\">Asian Americans for Community Involvement (AACI)\u003c/a>, founded in 1979 to provide medical and psychiatric services for Vietnamese refugees.\u003c/p>\n\u003cp>“Many in our community,” said AACI’s Michele Lew, “we know they would never walk through our mental health counseling door because of the stigma.” But may find some therapeutic help by informing the artist and helping her get the story right.\u003c/p>\n\u003cfigure id=\"attachment_11260357\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11260357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg\" alt=\"Michelle Lew and Cam Vu of AACI\" width=\"640\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1920x1101.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-960x550.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">President Michelle Lew and Development Director Cam Vu of AACI \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mai Bui, a software engineer, shared her story with Võ. Bui lives in Milipitas, in a house where photos of her three daughters cover her mantle. She and her brother left their family behind in prison in 1979, and spent days on a crowded boat without food or water, until a Thai merchant ship towed them into Bangkok. They ran at night to avoid pirates.\u003c/p>\n\u003cp>“The ocean sound is really romantic,” Bui recalled, “but at that time, it’s scary, up to this point I cannot look at the Ocean or the sea at night. It still bring back my memory.”\u003c/p>\n\u003cfigure id=\"attachment_11262401\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262401\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg\" alt=\"Mai Bui\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mai Bui \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ is having a busy new year. Besides performing her new suite, she’s also writing a \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">đàn tranh concerto for the Oakland Symphony,\u003c/a> which is set to premiere Feb. 12 at the Paramount Theater, and she’s performing Feb. 6 at SFJAZZ as part of the \u003ca href=\"http://www.kronosquartet.org/kronos-presents\" target=\"_blank\" rel=\"noopener\">Kronos Festival\u003c/a>. After that, she takes \u003cem>The Odyssey\u003c/em> to the Kennedy Center in Washington D.C., then to Houston and Orange County, which is home to many Vietnamese Americans.\u003c/p>\n\u003cp>Võ says there’s a higher message in her music: a plea for nations to take in refugees, and a protest of the wars that divide us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To let unheard voices, be voiced,” she said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>WARNING:\u003c/strong> This story contains language and music that could be considered inappropriate for children and the workplace.\u003c/em>\u003c/p>\n\u003cp>The last few weeks have seen a remarkable series of iconoclastic musician deaths. Although Clarence Reid, better known by his sometime stage-name, Blowfly, who died of liver cancer in a South Florida hospice facility on January 17th 2016 at the age of 76, may not seem as epochal as \u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\">David Bowie\u003c/a>, composer/conductor \u003ca href=\"http://www.npr.org/artists/15289724/pierre-boulez\">Pierre Boulez\u003c/a>, jazz piano eminence \u003ca href=\"http://www.npr.org/artists/92366136/paul-bley\">Paul Bley\u003c/a> or \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/28/461327109/rock-icon-lemmy-of-mot-rhead-dies-at-age-70\">Lemmy Kilminster\u003c/a>, he was the dominant exponent of a uniquely American idiom. Blowfly was the \u003cem>ne plus ultra\u003c/em> of raunchy pop-music parodies, writing profane lyrics to existing songs, which he then re-recorded and performed live. Many compared him to \u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\">“Weird Al” Yankovic\u003c/a>, but his records are the shadowy id to the platinum-selling accordionist’s super ego. Speaking to the German magazine \u003cem>Exberliner\u003c/em> in 2008, Reid was clear: “Weird Al has said ‘Blowfly is an X-rated Weird Al.’ Wrong. I was writing parodies when Weird Al was in diapers. He’s a goody-goody version of Blowfly.”\u003c/p>\n\u003cp>Vinyl crate-diggers knew Clarence Reid as an often-thoughtful songwriter, producer and a major figure in Miami’s soul and R&B independent music business. And the hours following Reid’s death saw encomia from \u003ca href=\"https://twitter.com/FINALLEVEL/status/688832230752423936?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Ice-T\u003c/a>, Snoop Dogg and the Red Hot Chili Peppers’ \u003ca href=\"https://twitter.com/flea333/status/688815108865175553?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Flea\u003c/a>, each paying tribute to not only his foul-mouthed versions of R&B classics, but also the late-’70s/early-’80s hip-hop he transitioned towards. Blowfly’s works presage the gleeful filth of fellow Miami residents \u003ca href=\"http://www.npr.org/2015/08/02/427850689/luther-campbell-of-2-live-crew-on-fame-obscenity-and-community\">2 Live Crew\u003c/a>, with only country singer David Allan Coe’s semi-legitimate, contemporaneous lewd (and racist) recordings and Millie Jackson’s similarly ribald R&B looming as large in the pantheons of dirty music. And if Blowfly took a cue or two from ’50s frat-R&B smut peddlers Doug Clark and His Hot Nuts, the overwhelming majority of current hip-hop and R&B artists owe Blowfly for their frank representations of unadulterated carnality and drug use. Needless to say, radio wouldn’t go anywhere near him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TzHurQoBMM0\u003c/p>\n\u003cp>The recorded legacy of Blowfly is replete with often sly, inventive references to every known sexual and scatological practice, featuring slurs regarding ethnicity, body type and sexual preference, delivered with the glee of a fifth grader —or perhaps of individuals willing to access a fifth grader’s mindset. And yet it worked. For you see, Blowfly is really really funny. The shock of defiling soul standards with nasty talk is powerful; fans of original, bighearted songs like Brook Benton’s “\u003ca href=\"https://www.youtube.com/watch?v=bDRbF80NKDU\" target=\"_blank\" rel=\"noopener\">Rainy Night In Georgia\u003c/a>” may resent the effrontery of “\u003ca href=\"https://www.youtube.com/watch?v=b-FFqLAJEBI\" target=\"_blank\" rel=\"noopener\">Spermy Night In Georgia\u003c/a>,” but go with it and see where it takes you. As he told the \u003ca href=\"mailto:http://www.miaminewtimes.com/news/blowfly-unmasked-6365163?subject=Miami%20New%20Times\">\u003cem>Miami New Times\u003c/em> in 1991\u003c/a>, “When Frank Sinatra sings, ‘When you love somebody / It’s no good unless he loves you / All the way,’ what’s he really saying? It’s about sex.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reid was born on February 14, 1939 in rural Cochran, Ga.; his family was poor and he had little in the way of a formal education, supposedly never learning to write and evidently memorizing the thousands of lyrics he composed. “‘Blowfly was invented when I was seven years old in the fields in Georgia,” he told the \u003cem>Exberliner\u003c/em>. “I had to quit school to work the farms. I was a mean little f*****, so I turned hillbilly songs like ‘Walkin’ the Floor Over You’ to ‘J*****’ My Dick Over You.’ The white people loved it and gave me money when I’d sing the songs to them. My grandmamma thought I stole the money, and when I told her how I earned it, she said I was a disgrace to the black race and no better than an old Blowfly. But a little white girl told me blowflies lay eggs on dead things and that without them, the world would be consumed by germs.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8Ut9XQBAol0\u003c/p>\n\u003cp>He made his way to South Florida in the early ’60s and cut a number of soul singles for regional labels with the original, self-pressed 1964 version of “Blowfly’s Rapp” laying credible claim as the first rap record, Reid having claimed that his delivery therein was influenced by the patter of southern DJs. That recording remains rare.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vh-2_kdVcyA\u003c/p>\n\u003cp>Reid eventually met Miami record impresario Henry Stone, and began writing songs for artists on his many labels, including \u003ca href=\"http://www.npr.org/2011/11/13/142240590/betty-wright-soul-singer-legacy-protector\">Betty Wright\u003c/a>. Her huge 1972 hit “Clean Up Woman” is one of the many songs of empowerment that Reid wrote (and produced) for women. (Wright’s “\u003ca href=\"https://www.youtube.com/watch?v=vZtkVj3JPaw\" target=\"_blank\" rel=\"noopener\">Girls Can’t Do What The Guys Do\u003c/a>,” which would be sampled for Beyonce’s “\u003ca href=\"https://www.youtube.com/watch?v=6nr8hPnZfMU\" target=\"_blank\" rel=\"noopener\">Upgrade U\u003c/a>,” is another.) They are striking for the level of empathy Reid deployed with respect to the romantic and professional travails that women have endured since antiquity — and in light of the recordings his alter ego would soon be notorious for. Reid became a bedrock of Stone’s TK Records, a key Miami label behind George McCrae’s oddly wistful early disco benchmark “Rock Your Baby,” working with artists such as Gwen McRae and Timmy Thomas, among many others, and making key contributions to the early, defining hits by KC and the Sunshine Band.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=laynlS8ngmM\u003c/p>\n\u003cp>All the while, Reid entertained fellow musicians and friends with dirty versions of the R&B hits of the late ’60s and ’70s\u003cdel>,\u003c/del> — “S***ing On The Dock of the Bay\u003cdel>.\u003c/del>” was an early standout. Stone encouraged him to record these and then released and marketed them in the guise of underground “party records” from “Blowfly.” His first album as such, 1973’s \u003cem>Weird World Of Blowfly\u003c/em>, is presented as a live show (crowd noise was edited in), comprised of repurposed soul gems. When that record and subsequent efforts such as \u003cdel> \u003c/del>1977’s \u003cem>Blowfly’s Disco\u003c/em> gathered steam, \u003cdel> \u003c/del>Reid became concerned that their reputation would besmirch his standing as a songwriter, so he took to donning a sequined hood and top and a pair of ill-advised booty shorts for album covers and appearances. He even recorded “\u003ca href=\"https://www.youtube.com/watch?v=Bq25vxTKFs0\" target=\"_blank\" rel=\"noopener\">Nobody’s Butt But Yours Babe\u003c/a>,” reworking Clarence Reid’s semi-hit “Nobody But You Babe.” His adoption of an alter ego did not stop Stanley Adams, the president of ASCAP at the time, from suing Reid for befouling his composition “What A Difference A Day Makes” as “\u003ca href=\"https://www.youtube.com/watch?v=laynlS8ngmM\" target=\"_blank\" rel=\"noopener\">What A Difference A Lay Makes\u003c/a>.” His marriage of the time produced two children, including 1998 WNBA Rookie of the Year, Tracy Reid.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7KlnU2ZVNpU\u003c/p>\n\u003cp>Once hip-hop emerged, in 1980 Reid recut “Blowfly’s Rapp,” the first of a series of tall tales delivered via the nascent form. Dipping a toe into the period’s CB radio craze (the market-conscious Blowfly consistently responded to technological and cultural trends), the new “Rapp” spun the tale of a \u003cem>Deliverance\u003c/em>-style encounter with Ku Klux Klan-accredited truck drivers to light funk backing; “\u003ca href=\"https://www.youtube.com/watch?v=fPj6BWCH6co\" target=\"_blank\" rel=\"noopener\">The Incredible Fulk\u003c/a>” found our hero undergoing an experiment that makes his manhood so big that it ascends into the sky and “planes had to re-route themselves” while 1981’s “\u003ca href=\"https://www.youtube.com/watch?v=E5JaQEXszJk\" target=\"_blank\" rel=\"noopener\">Convoy\u003c/a>” again found him behind the wheel (and also included an “argument” between “Blowfly” and “Reid”). He adopted what would now be understood as a tag: almost every song from this era features a sinister bellowing laugh, redolent of a twirly mustached villain: “NEEE-AH-AH-AH-AH-AH-AH!!!!” At Blowfly’s creative height, he was as agile and resourceful a singer as any he mocked, occasionally ascending into a keening falsetto few could achieve.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8K1iTW1szfw\u003c/p>\n\u003cp>After TK Records collapsed in 1980, he recorded for Bo Crane’s Pandisc, a label that would become a cornerstone of the Miami Bass sound. Released in 1984, “Electronic P**** Sucker” drew on the emerging synthetic “electro” movement by sampling Cybotron’s “\u003ca href=\"https://www.youtube.com/watch?v=fGqiBFqWCTU\" target=\"_blank\" rel=\"noopener\">Clear\u003c/a>,” and is one of the genre’s cult classics (its narrative finds Blowfly encountering a rogue horny robot at a computer store, with Reid voicing the robot via a sinister vocoder treatment). That election year also saw the release of “First Black President,” with Blowfly becoming POTUS and the song running over with sex, drugs and racially stereotypical imagery. His cuts, either very popular or obscure, would be sampled by the likes of Warren G., Jurassic Five, DJ Quik, the Avalanches, and the Ol Dirty Bastard.\u003c/p>\n\u003cp>From the ’90s onwards, Reid was chiefly championed by \u003cdel> \u003c/del>the bearded and tattooed set. His records had long since stopped selling via traditional channels, and mounting debt and unpaid bills saw him sell the rights to his catalog in 2003; he ceded all future royalties for a nominal sum and had to scramble for the rest of his life, according to the 2010 documentary, \u003cem>\u003ca href=\"http://www.blowflyfilm.com/\" target=\"_blank\" rel=\"noopener\">The Weird World Of Blowfly\u003c/a>\u003c/em>. For the past decade, he has worked on the punk rock circuit with his drummer/right hand man “Uncle” Tom Bowker. \u003cem>Blowfly’s Punk Rock \u003cdel> \u003c/del>Party\u003c/em> was released in 2006 on Jello Biafra’s Alternative Tentacles: the Dead Kennedys takeoff “\u003ca href=\"https://www.youtube.com/watch?v=vWLK-JEH4vU\" target=\"_blank\" rel=\"noopener\">R. Kelly In Cambodia\u003c/a>” not only reflects his intended audience’s interests, but also indicates his own alienation towards black audiences. The \u003cem>Weird World\u003c/em> documentary, which is largely concerned with the drudgery of his touring life in the late 2000s, saw Reid expressing contempt for other African\u003cdel> \u003c/del>Americans in terms similar to the extreme respectability politics diatribes of black conservatives like Shelby Steele.\u003c/p>\n\u003cp>Yet Reid was consistently less interested in the “respectable” long view of 50 years of nasty song parodies. “Blowfly has never ‘developed,'” he told the \u003cem>Exberliner\u003c/em>. “Blowfly is still the same mean, perverted little bastard he was back in Georgia in the ’40s. That’s why I still eat pizza and honey like a little kid and watch cartoons every day. I live in my own Weird World.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Additional reporting by D. Strauss.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Blowfly%2C+Black+Music%27s+Filthiest+Legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>WARNING:\u003c/strong> This story contains language and music that could be considered inappropriate for children and the workplace.\u003c/em>\u003c/p>\n\u003cp>The last few weeks have seen a remarkable series of iconoclastic musician deaths. Although Clarence Reid, better known by his sometime stage-name, Blowfly, who died of liver cancer in a South Florida hospice facility on January 17th 2016 at the age of 76, may not seem as epochal as \u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\">David Bowie\u003c/a>, composer/conductor \u003ca href=\"http://www.npr.org/artists/15289724/pierre-boulez\">Pierre Boulez\u003c/a>, jazz piano eminence \u003ca href=\"http://www.npr.org/artists/92366136/paul-bley\">Paul Bley\u003c/a> or \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/28/461327109/rock-icon-lemmy-of-mot-rhead-dies-at-age-70\">Lemmy Kilminster\u003c/a>, he was the dominant exponent of a uniquely American idiom. Blowfly was the \u003cem>ne plus ultra\u003c/em> of raunchy pop-music parodies, writing profane lyrics to existing songs, which he then re-recorded and performed live. Many compared him to \u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\">“Weird Al” Yankovic\u003c/a>, but his records are the shadowy id to the platinum-selling accordionist’s super ego. Speaking to the German magazine \u003cem>Exberliner\u003c/em> in 2008, Reid was clear: “Weird Al has said ‘Blowfly is an X-rated Weird Al.’ Wrong. I was writing parodies when Weird Al was in diapers. He’s a goody-goody version of Blowfly.”\u003c/p>\n\u003cp>Vinyl crate-diggers knew Clarence Reid as an often-thoughtful songwriter, producer and a major figure in Miami’s soul and R&B independent music business. And the hours following Reid’s death saw encomia from \u003ca href=\"https://twitter.com/FINALLEVEL/status/688832230752423936?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Ice-T\u003c/a>, Snoop Dogg and the Red Hot Chili Peppers’ \u003ca href=\"https://twitter.com/flea333/status/688815108865175553?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Flea\u003c/a>, each paying tribute to not only his foul-mouthed versions of R&B classics, but also the late-’70s/early-’80s hip-hop he transitioned towards. Blowfly’s works presage the gleeful filth of fellow Miami residents \u003ca href=\"http://www.npr.org/2015/08/02/427850689/luther-campbell-of-2-live-crew-on-fame-obscenity-and-community\">2 Live Crew\u003c/a>, with only country singer David Allan Coe’s semi-legitimate, contemporaneous lewd (and racist) recordings and Millie Jackson’s similarly ribald R&B looming as large in the pantheons of dirty music. And if Blowfly took a cue or two from ’50s frat-R&B smut peddlers Doug Clark and His Hot Nuts, the overwhelming majority of current hip-hop and R&B artists owe Blowfly for their frank representations of unadulterated carnality and drug use. Needless to say, radio wouldn’t go anywhere near him.\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/TzHurQoBMM0'\n title='//www.youtube.com/embed/TzHurQoBMM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The recorded legacy of Blowfly is replete with often sly, inventive references to every known sexual and scatological practice, featuring slurs regarding ethnicity, body type and sexual preference, delivered with the glee of a fifth grader —or perhaps of individuals willing to access a fifth grader’s mindset. And yet it worked. For you see, Blowfly is really really funny. The shock of defiling soul standards with nasty talk is powerful; fans of original, bighearted songs like Brook Benton’s “\u003ca href=\"https://www.youtube.com/watch?v=bDRbF80NKDU\" target=\"_blank\" rel=\"noopener\">Rainy Night In Georgia\u003c/a>” may resent the effrontery of “\u003ca href=\"https://www.youtube.com/watch?v=b-FFqLAJEBI\" target=\"_blank\" rel=\"noopener\">Spermy Night In Georgia\u003c/a>,” but go with it and see where it takes you. As he told the \u003ca href=\"mailto:http://www.miaminewtimes.com/news/blowfly-unmasked-6365163?subject=Miami%20New%20Times\">\u003cem>Miami New Times\u003c/em> in 1991\u003c/a>, “When Frank Sinatra sings, ‘When you love somebody / It’s no good unless he loves you / All the way,’ what’s he really saying? It’s about sex.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reid was born on February 14, 1939 in rural Cochran, Ga.; his family was poor and he had little in the way of a formal education, supposedly never learning to write and evidently memorizing the thousands of lyrics he composed. “‘Blowfly was invented when I was seven years old in the fields in Georgia,” he told the \u003cem>Exberliner\u003c/em>. “I had to quit school to work the farms. I was a mean little f*****, so I turned hillbilly songs like ‘Walkin’ the Floor Over You’ to ‘J*****’ My Dick Over You.’ The white people loved it and gave me money when I’d sing the songs to them. My grandmamma thought I stole the money, and when I told her how I earned it, she said I was a disgrace to the black race and no better than an old Blowfly. But a little white girl told me blowflies lay eggs on dead things and that without them, the world would be consumed by germs.”\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/8Ut9XQBAol0'\n title='//www.youtube.com/embed/8Ut9XQBAol0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He made his way to South Florida in the early ’60s and cut a number of soul singles for regional labels with the original, self-pressed 1964 version of “Blowfly’s Rapp” laying credible claim as the first rap record, Reid having claimed that his delivery therein was influenced by the patter of southern DJs. That recording remains rare.\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/vh-2_kdVcyA'\n title='//www.youtube.com/embed/vh-2_kdVcyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reid eventually met Miami record impresario Henry Stone, and began writing songs for artists on his many labels, including \u003ca href=\"http://www.npr.org/2011/11/13/142240590/betty-wright-soul-singer-legacy-protector\">Betty Wright\u003c/a>. Her huge 1972 hit “Clean Up Woman” is one of the many songs of empowerment that Reid wrote (and produced) for women. (Wright’s “\u003ca href=\"https://www.youtube.com/watch?v=vZtkVj3JPaw\" target=\"_blank\" rel=\"noopener\">Girls Can’t Do What The Guys Do\u003c/a>,” which would be sampled for Beyonce’s “\u003ca href=\"https://www.youtube.com/watch?v=6nr8hPnZfMU\" target=\"_blank\" rel=\"noopener\">Upgrade U\u003c/a>,” is another.) They are striking for the level of empathy Reid deployed with respect to the romantic and professional travails that women have endured since antiquity — and in light of the recordings his alter ego would soon be notorious for. Reid became a bedrock of Stone’s TK Records, a key Miami label behind George McCrae’s oddly wistful early disco benchmark “Rock Your Baby,” working with artists such as Gwen McRae and Timmy Thomas, among many others, and making key contributions to the early, defining hits by KC and the Sunshine Band.\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/laynlS8ngmM'\n title='//www.youtube.com/embed/laynlS8ngmM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All the while, Reid entertained fellow musicians and friends with dirty versions of the R&B hits of the late ’60s and ’70s\u003cdel>,\u003c/del> — “S***ing On The Dock of the Bay\u003cdel>.\u003c/del>” was an early standout. Stone encouraged him to record these and then released and marketed them in the guise of underground “party records” from “Blowfly.” His first album as such, 1973’s \u003cem>Weird World Of Blowfly\u003c/em>, is presented as a live show (crowd noise was edited in), comprised of repurposed soul gems. When that record and subsequent efforts such as \u003cdel> \u003c/del>1977’s \u003cem>Blowfly’s Disco\u003c/em> gathered steam, \u003cdel> \u003c/del>Reid became concerned that their reputation would besmirch his standing as a songwriter, so he took to donning a sequined hood and top and a pair of ill-advised booty shorts for album covers and appearances. He even recorded “\u003ca href=\"https://www.youtube.com/watch?v=Bq25vxTKFs0\" target=\"_blank\" rel=\"noopener\">Nobody’s Butt But Yours Babe\u003c/a>,” reworking Clarence Reid’s semi-hit “Nobody But You Babe.” His adoption of an alter ego did not stop Stanley Adams, the president of ASCAP at the time, from suing Reid for befouling his composition “What A Difference A Day Makes” as “\u003ca href=\"https://www.youtube.com/watch?v=laynlS8ngmM\" target=\"_blank\" rel=\"noopener\">What A Difference A Lay Makes\u003c/a>.” His marriage of the time produced two children, including 1998 WNBA Rookie of the Year, Tracy Reid.\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/7KlnU2ZVNpU'\n title='//www.youtube.com/embed/7KlnU2ZVNpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once hip-hop emerged, in 1980 Reid recut “Blowfly’s Rapp,” the first of a series of tall tales delivered via the nascent form. Dipping a toe into the period’s CB radio craze (the market-conscious Blowfly consistently responded to technological and cultural trends), the new “Rapp” spun the tale of a \u003cem>Deliverance\u003c/em>-style encounter with Ku Klux Klan-accredited truck drivers to light funk backing; “\u003ca href=\"https://www.youtube.com/watch?v=fPj6BWCH6co\" target=\"_blank\" rel=\"noopener\">The Incredible Fulk\u003c/a>” found our hero undergoing an experiment that makes his manhood so big that it ascends into the sky and “planes had to re-route themselves” while 1981’s “\u003ca href=\"https://www.youtube.com/watch?v=E5JaQEXszJk\" target=\"_blank\" rel=\"noopener\">Convoy\u003c/a>” again found him behind the wheel (and also included an “argument” between “Blowfly” and “Reid”). He adopted what would now be understood as a tag: almost every song from this era features a sinister bellowing laugh, redolent of a twirly mustached villain: “NEEE-AH-AH-AH-AH-AH-AH!!!!” At Blowfly’s creative height, he was as agile and resourceful a singer as any he mocked, occasionally ascending into a keening falsetto few could achieve.\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/8K1iTW1szfw'\n title='//www.youtube.com/embed/8K1iTW1szfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After TK Records collapsed in 1980, he recorded for Bo Crane’s Pandisc, a label that would become a cornerstone of the Miami Bass sound. Released in 1984, “Electronic P**** Sucker” drew on the emerging synthetic “electro” movement by sampling Cybotron’s “\u003ca href=\"https://www.youtube.com/watch?v=fGqiBFqWCTU\" target=\"_blank\" rel=\"noopener\">Clear\u003c/a>,” and is one of the genre’s cult classics (its narrative finds Blowfly encountering a rogue horny robot at a computer store, with Reid voicing the robot via a sinister vocoder treatment). That election year also saw the release of “First Black President,” with Blowfly becoming POTUS and the song running over with sex, drugs and racially stereotypical imagery. His cuts, either very popular or obscure, would be sampled by the likes of Warren G., Jurassic Five, DJ Quik, the Avalanches, and the Ol Dirty Bastard.\u003c/p>\n\u003cp>From the ’90s onwards, Reid was chiefly championed by \u003cdel> \u003c/del>the bearded and tattooed set. His records had long since stopped selling via traditional channels, and mounting debt and unpaid bills saw him sell the rights to his catalog in 2003; he ceded all future royalties for a nominal sum and had to scramble for the rest of his life, according to the 2010 documentary, \u003cem>\u003ca href=\"http://www.blowflyfilm.com/\" target=\"_blank\" rel=\"noopener\">The Weird World Of Blowfly\u003c/a>\u003c/em>. For the past decade, he has worked on the punk rock circuit with his drummer/right hand man “Uncle” Tom Bowker. \u003cem>Blowfly’s Punk Rock \u003cdel> \u003c/del>Party\u003c/em> was released in 2006 on Jello Biafra’s Alternative Tentacles: the Dead Kennedys takeoff “\u003ca href=\"https://www.youtube.com/watch?v=vWLK-JEH4vU\" target=\"_blank\" rel=\"noopener\">R. Kelly In Cambodia\u003c/a>” not only reflects his intended audience’s interests, but also indicates his own alienation towards black audiences. The \u003cem>Weird World\u003c/em> documentary, which is largely concerned with the drudgery of his touring life in the late 2000s, saw Reid expressing contempt for other African\u003cdel> \u003c/del>Americans in terms similar to the extreme respectability politics diatribes of black conservatives like Shelby Steele.\u003c/p>\n\u003cp>Yet Reid was consistently less interested in the “respectable” long view of 50 years of nasty song parodies. “Blowfly has never ‘developed,'” he told the \u003cem>Exberliner\u003c/em>. “Blowfly is still the same mean, perverted little bastard he was back in Georgia in the ’40s. That’s why I still eat pizza and honey like a little kid and watch cartoons every day. I live in my own Weird World.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by D. Strauss.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Blowfly%2C+Black+Music%27s+Filthiest+Legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nadja Salerno-Sonnenberg, described as being one of the \u003ca href=\"https://en.wikipedia.org/wiki/Nadja_Salerno-Sonnenberg\" target=\"_blank\" rel=\"noopener\">leading violinists of her generation\u003c/a>, announced Tuesday that she plans to step down from her position as musical director of San Francisco’s New Century Chamber Orchestra at the end of the 2016-2017 concert season.\u003c/p>\n\u003cp>Well-known in the classical world for her wild, electric playing, Salerno-Sonnenberg became the orchestra’s musical director back in 2008 to great fanfare. During her tenure, she founded a Featured Composer program and commissioned eight new pieces for the orchestra. She also led the orchestra on three national tours, which apparently garnered record-breaking audiences and were critically acclaimed. \u003c/p>\n\u003cfigure id=\"attachment_11259971\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann-400x600.jpg\" alt=\"Nadja Salerno-Sonnenberg\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11259971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Nadja Salerno-Sonnenberg \u003ccite>(Photo: Kristin Hoebermann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“From the very first moment I interacted with the orchestra, the chemistry was palpable. Although there were challenges ahead, we pressed forward and began a growth process that never wavered. Without a single doubt in my mind, I feel assured of a bright future for this orchestra,” she said, according to a \u003ca href=\"http://ncco.org/nss-news/\" target=\"_blank\" rel=\"noopener\">press release from the orchestra\u003c/a>.\u003c/p>\n\u003cp>Salerno-Sonnenberg’s announcement comes not long after she was appointed to lead Loyola University’s resident artist program at its school of music.\u003c/p>\n\u003cp>The orchestra’s board of directors have already formed a committee to find Salerno-Sonnenberg’s replacement and plan on using guest concertmasters until a successor has been chosen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"description": "Nadja Salerno-Sonnenberg, described as being one of the leading violinists of her generation, announced Tuesday that she plans to step down from her position as musical director of San Francisco's New Century Chamber Orchestra at the end of the 2016-2017 concert season. Well-known in the classical world for her wild, electric playing, Salerno-Sonnenberg became the orchestra's musical director back in 2008 to great fanfare. During her tenure, she founded a Featured Composer program and commissioned eight new pieces for the orchestra. She also led the orchestra on three national tours, which apparently garnered record-breaking audiences and were critically acclaimed. “From",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nadja Salerno-Sonnenberg, described as being one of the \u003ca href=\"https://en.wikipedia.org/wiki/Nadja_Salerno-Sonnenberg\" target=\"_blank\" rel=\"noopener\">leading violinists of her generation\u003c/a>, announced Tuesday that she plans to step down from her position as musical director of San Francisco’s New Century Chamber Orchestra at the end of the 2016-2017 concert season.\u003c/p>\n\u003cp>Well-known in the classical world for her wild, electric playing, Salerno-Sonnenberg became the orchestra’s musical director back in 2008 to great fanfare. During her tenure, she founded a Featured Composer program and commissioned eight new pieces for the orchestra. She also led the orchestra on three national tours, which apparently garnered record-breaking audiences and were critically acclaimed. \u003c/p>\n\u003cfigure id=\"attachment_11259971\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann-400x600.jpg\" alt=\"Nadja Salerno-Sonnenberg\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11259971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Nadja Salerno-Sonnenberg \u003ccite>(Photo: Kristin Hoebermann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“From the very first moment I interacted with the orchestra, the chemistry was palpable. Although there were challenges ahead, we pressed forward and began a growth process that never wavered. Without a single doubt in my mind, I feel assured of a bright future for this orchestra,” she said, according to a \u003ca href=\"http://ncco.org/nss-news/\" target=\"_blank\" rel=\"noopener\">press release from the orchestra\u003c/a>.\u003c/p>\n\u003cp>Salerno-Sonnenberg’s announcement comes not long after she was appointed to lead Loyola University’s resident artist program at its school of music.\u003c/p>\n\u003cp>The orchestra’s board of directors have already formed a committee to find Salerno-Sonnenberg’s replacement and plan on using guest concertmasters until a successor has been chosen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“I am an academy member and it doesn’t reflect me,” actor David Oyelowo said last night, rebuking the Academy of Motion Picture Arts and Sciences for again failing to nominate black performers.\u003c/p>\n\u003cp>Speaking at a Martin Luther King Jr. Legacy Award Gala in Los Angeles, Oyelowo asked those present to pray for the academy’s president, Cheryl Boone Isaacs, saying she needs their support.\u003c/p>\n\u003cp>“The academy has a problem,” Oyelowo said, according to \u003ca href=\"http://www.hollywoodreporter.com/news/actor-david-oyelowo-slams-academy-857045\" target=\"_blank\" rel=\"noopener\">the Hollywood Reporter\u003c/a>. “It’s a problem that needs to be solved.”\u003c/p>\n\u003cp>He also criticized the slow pace of change in Hollywood, comparing it unfavorably with the U.S. passage of civil rights legislation 50 years ago.\u003c/p>\n\u003cp>The lack of diversity in the Oscar nominations announced Thursday quickly set off a wave of criticism. Over the weekend, filmmaker Spike Lee and actress Jada Pinkett Smith both said they won’t attend the ceremony.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Boone Isaacs, who was elected the academy’s first black president in 2013, was present for Oyelowo’s speech — she was being presented with the Rosa Parks Humanitarian Award when Oyelowo diverted from his prepared text, according to the \u003cem>Reporter\u003c/em>.\u003c/p>\n\u003cp>The academy president aired her own thoughts on diversity last night, issuing a statement via the Oscars site that reads in part:\u003c/p>\n\u003cblockquote>\n\u003cp>“While we celebrate their extraordinary achievements, I am both heartbroken and frustrated about the lack of inclusion. This is a difficult but important conversation, and it’s time for big changes. The Academy is taking dramatic steps to alter the makeup of our membership.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Those steps center on recruitment, \u003ca href=\"http://www.oscars.org/news/statement-academy-president-cheryl-boone-isaacs\" target=\"_blank\" rel=\"noopener\">Boone Isaacs said\u003c/a>, noting that in the 1960s and ’70s, the organization had sought younger members “to stay vital and relevant.”\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/14/463024972/2016-oscar-nominations-are-announced\" target=\"_blank\" rel=\"noopener\">we reported Thursday\u003c/a>, “for the second year in a row, no black actor or actress was nominated for an Oscar. And unlike last year, when \u003cem>Selma\u003c/em> competed for best picture, no black faces are featured in what the academy is calling the top films of 2015.”\u003c/p>\n\u003cp>One day after the nominations were announced, Chris Rock, who’s hosting next month’s awards ceremony, tweeted, “The #Oscars. The White BET Awards.”\u003c/p>\n\u003cp>Saying via \u003ca href=\"https://www.facebook.com/jada/videos/10153983404106320/\">a video posted to Facebook\u003c/a> that she won’t be attending, Pinkett Smith said, “The academy has the right to acknowledge whomever they choose, to invite whomever they choose.” She added, “Begging for acknowledgement — or even asking — diminishes dignity. It diminishes power.”\u003c/p>\n\u003cp>Announcing his decision \u003ca href=\"https://www.instagram.com/p/BArm7C2Sqh_/\" target=\"_blank\" rel=\"noopener\">via Instagram\u003c/a>, Spike Lee said, “As I see it, the Academy Awards is not where the ‘real’ battle is. It’s in the executive office of the Hollywood studios and TV and cable networks. … People, the truth is we ain’t in those rooms and until minorities are, the Oscar nominees will remain lily-white.”\u003c/p>\n\u003cp>Lee also thanked Boone Isaacs and the academy for awarding him an honorary Oscar in November. But he said of the upcoming ceremony, “We cannot support it.”\u003c/p>\n\u003cp>Last year, Oyelowo’s portrayal of Martin Luther King Jr. in \u003cem>Selma\u003c/em> was widely expected to garner an Oscar nomination. On Monday, he said that after the snub, Boone Isaacs “invited me to her office to talk about what went wrong.”\u003c/p>\n\u003cp>He added, “For 20 opportunities to celebrate actors of color, actresses of color, to be missed last year is one thing; for that to happen again this year is unforgivable.”\u003c/p>\n\u003cp>Referring to black performers’ prominent roles in \u003cem>Star Wars: The Force Awakens\u003c/em> and other successful films, Oyelowo stated, “This institution doesn’t reflect its president and it doesn’t reflect this room. I am an academy member, and it doesn’t reflect me and it doesn’t reflect this nation.”\u003c/p>\n\u003cp>This year, Pinkett Smith’s husband, Will Smith, did not receive a nomination for his work in \u003cem>Concussion\u003c/em>. Neither did Idris Elba, despite winning acclaim for his part in \u003cem>Beasts of No Nation\u003c/em>. Both actors were nominated for Golden Globes.\u003c/p>\n\u003cp>Within the strong criticism that has met this year’s Oscar nominations, there’s also disagreement over who should have been recognized.\u003c/p>\n\u003cp>In response to Pinkett Smith’s video, actress Janet Hubert, who portrayed Will Smith’s Aunt Viv on the 1990s TV show \u003cem>Fresh Prince of Bel-Air\u003c/em>, released a video of her own in which she told the couple, “Y’all need to get over yourselves.”\u003c/p>\n\u003cp>After saying she felt Elba and others deserved recognition, Hubert addressed her former co-star:\u003c/p>\n\u003cblockquote>\n\u003cp>“I didn’t think, frankly, you deserved a Golden Globe nomination with that accent, but you got one. And just because the world doesn’t go the way you want it to go doesn’t mean that you can go out and then you start asking people to stand up and sing ‘We Shall Overcome’ for you.”\u003c/p>\n\u003c/blockquote>\n\u003cp>For his part, Elba, who, like Oyewolo, grew up in London, gave his own speech yesterday “about a lack of diversity on British television,” as \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/18/462657954/actor-idris-elba-to-british-politicians-more-diversity-needed-in-media\" target=\"_blank\" rel=\"noopener\">NPR’s Tanya Ballard Brown reported\u003c/a>. In it, he told members of Parliament and senior TV executives about hitting a point in his acting career when he realized he would only be seen as either a best friend or a gang leader.\u003c/p>\n\u003cp>“I knew I wasn’t going to land a lead role,” Elba said. “I knew there wasn’t enough imagination in the industry for me to be seen as a lead.”\u003c/p>\n\u003cp>In his speech Monday night, Oyelowo said performers dream of being accepted by the academy “because it is the height of excellence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He added, “I would like to walk away and say it doesn’t matter, but it does, because that acknowledgement changes the trajectory of your life, your career and the culture of the world we live in.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Academy+Has+A+Problem%2C%27+David+Oyelowo+Says+At+MLK+Event+Honoring+Academy+President&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I am an academy member and it doesn’t reflect me,” actor David Oyelowo said last night, rebuking the Academy of Motion Picture Arts and Sciences for again failing to nominate black performers.\u003c/p>\n\u003cp>Speaking at a Martin Luther King Jr. Legacy Award Gala in Los Angeles, Oyelowo asked those present to pray for the academy’s president, Cheryl Boone Isaacs, saying she needs their support.\u003c/p>\n\u003cp>“The academy has a problem,” Oyelowo said, according to \u003ca href=\"http://www.hollywoodreporter.com/news/actor-david-oyelowo-slams-academy-857045\" target=\"_blank\" rel=\"noopener\">the Hollywood Reporter\u003c/a>. “It’s a problem that needs to be solved.”\u003c/p>\n\u003cp>He also criticized the slow pace of change in Hollywood, comparing it unfavorably with the U.S. passage of civil rights legislation 50 years ago.\u003c/p>\n\u003cp>The lack of diversity in the Oscar nominations announced Thursday quickly set off a wave of criticism. Over the weekend, filmmaker Spike Lee and actress Jada Pinkett Smith both said they won’t attend the ceremony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Boone Isaacs, who was elected the academy’s first black president in 2013, was present for Oyelowo’s speech — she was being presented with the Rosa Parks Humanitarian Award when Oyelowo diverted from his prepared text, according to the \u003cem>Reporter\u003c/em>.\u003c/p>\n\u003cp>The academy president aired her own thoughts on diversity last night, issuing a statement via the Oscars site that reads in part:\u003c/p>\n\u003cblockquote>\n\u003cp>“While we celebrate their extraordinary achievements, I am both heartbroken and frustrated about the lack of inclusion. This is a difficult but important conversation, and it’s time for big changes. The Academy is taking dramatic steps to alter the makeup of our membership.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Those steps center on recruitment, \u003ca href=\"http://www.oscars.org/news/statement-academy-president-cheryl-boone-isaacs\" target=\"_blank\" rel=\"noopener\">Boone Isaacs said\u003c/a>, noting that in the 1960s and ’70s, the organization had sought younger members “to stay vital and relevant.”\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/14/463024972/2016-oscar-nominations-are-announced\" target=\"_blank\" rel=\"noopener\">we reported Thursday\u003c/a>, “for the second year in a row, no black actor or actress was nominated for an Oscar. And unlike last year, when \u003cem>Selma\u003c/em> competed for best picture, no black faces are featured in what the academy is calling the top films of 2015.”\u003c/p>\n\u003cp>One day after the nominations were announced, Chris Rock, who’s hosting next month’s awards ceremony, tweeted, “The #Oscars. The White BET Awards.”\u003c/p>\n\u003cp>Saying via \u003ca href=\"https://www.facebook.com/jada/videos/10153983404106320/\">a video posted to Facebook\u003c/a> that she won’t be attending, Pinkett Smith said, “The academy has the right to acknowledge whomever they choose, to invite whomever they choose.” She added, “Begging for acknowledgement — or even asking — diminishes dignity. It diminishes power.”\u003c/p>\n\u003cp>Announcing his decision \u003ca href=\"https://www.instagram.com/p/BArm7C2Sqh_/\" target=\"_blank\" rel=\"noopener\">via Instagram\u003c/a>, Spike Lee said, “As I see it, the Academy Awards is not where the ‘real’ battle is. It’s in the executive office of the Hollywood studios and TV and cable networks. … People, the truth is we ain’t in those rooms and until minorities are, the Oscar nominees will remain lily-white.”\u003c/p>\n\u003cp>Lee also thanked Boone Isaacs and the academy for awarding him an honorary Oscar in November. But he said of the upcoming ceremony, “We cannot support it.”\u003c/p>\n\u003cp>Last year, Oyelowo’s portrayal of Martin Luther King Jr. in \u003cem>Selma\u003c/em> was widely expected to garner an Oscar nomination. On Monday, he said that after the snub, Boone Isaacs “invited me to her office to talk about what went wrong.”\u003c/p>\n\u003cp>He added, “For 20 opportunities to celebrate actors of color, actresses of color, to be missed last year is one thing; for that to happen again this year is unforgivable.”\u003c/p>\n\u003cp>Referring to black performers’ prominent roles in \u003cem>Star Wars: The Force Awakens\u003c/em> and other successful films, Oyelowo stated, “This institution doesn’t reflect its president and it doesn’t reflect this room. I am an academy member, and it doesn’t reflect me and it doesn’t reflect this nation.”\u003c/p>\n\u003cp>This year, Pinkett Smith’s husband, Will Smith, did not receive a nomination for his work in \u003cem>Concussion\u003c/em>. Neither did Idris Elba, despite winning acclaim for his part in \u003cem>Beasts of No Nation\u003c/em>. Both actors were nominated for Golden Globes.\u003c/p>\n\u003cp>Within the strong criticism that has met this year’s Oscar nominations, there’s also disagreement over who should have been recognized.\u003c/p>\n\u003cp>In response to Pinkett Smith’s video, actress Janet Hubert, who portrayed Will Smith’s Aunt Viv on the 1990s TV show \u003cem>Fresh Prince of Bel-Air\u003c/em>, released a video of her own in which she told the couple, “Y’all need to get over yourselves.”\u003c/p>\n\u003cp>After saying she felt Elba and others deserved recognition, Hubert addressed her former co-star:\u003c/p>\n\u003cblockquote>\n\u003cp>“I didn’t think, frankly, you deserved a Golden Globe nomination with that accent, but you got one. And just because the world doesn’t go the way you want it to go doesn’t mean that you can go out and then you start asking people to stand up and sing ‘We Shall Overcome’ for you.”\u003c/p>\n\u003c/blockquote>\n\u003cp>For his part, Elba, who, like Oyewolo, grew up in London, gave his own speech yesterday “about a lack of diversity on British television,” as \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/18/462657954/actor-idris-elba-to-british-politicians-more-diversity-needed-in-media\" target=\"_blank\" rel=\"noopener\">NPR’s Tanya Ballard Brown reported\u003c/a>. In it, he told members of Parliament and senior TV executives about hitting a point in his acting career when he realized he would only be seen as either a best friend or a gang leader.\u003c/p>\n\u003cp>“I knew I wasn’t going to land a lead role,” Elba said. “I knew there wasn’t enough imagination in the industry for me to be seen as a lead.”\u003c/p>\n\u003cp>In his speech Monday night, Oyelowo said performers dream of being accepted by the academy “because it is the height of excellence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He added, “I would like to walk away and say it doesn’t matter, but it does, because that acknowledgement changes the trajectory of your life, your career and the culture of the world we live in.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Academy+Has+A+Problem%2C%27+David+Oyelowo+Says+At+MLK+Event+Honoring+Academy+President&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "diversity-in-hollywood-heres-what-critics-are-saying-about-round-2-of-oscarsowhite",
"title": "Diversity In Hollywood: Here's What Critics Are Saying About Round 2 of #OscarSoWhite",
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"headTitle": "Diversity In Hollywood: Here’s What Critics Are Saying About Round 2 of #OscarSoWhite | KQED",
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"content": "\u003cp>Last week saw the unhappy reprise of #\u003ca href=\"https://twitter.com/hashtag/oscarssowhite?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener\">OscarSoWhite\u003c/a>, a Twitter hashtag that’s becoming something of an annual tradition skewering the lack of diversity in nominations for the Academy Awards. Many fans and critics are frustrated — to say the least — that all of this year’s nominees in acting categories are white, citing Michael B. Jordan’s performance in \u003cem>Creed\u003c/em> as one of a handful of expected shoe-ins for recognition.\u003c/p>\n\u003cp>Now, thousands are pledging to boycott watching the awards ceremony on television, and Jada Pinkett-Smith and Spike Lee have \u003ca href=\"http://www.bbc.com/news/world-us-canada-35348062\" target=\"_blank\" rel=\"noopener\">publicly stated\u003c/a> that they will not attend.\u003c/p>\n\u003cp>We’ve rounded up some of the most thoughtful responses to #OscarsSoWhite, shedding light on the history of race in Hollywood, how Oscars voting actually works, and how the Academy could respond to the backlash.\u003c/p>\n\u003cp>Eliza Berman of \u003cem>Time\u003c/em> \u003ca href=\"http://time.com/4180868/oscar-nominations-analysis/\" target=\"_blank\" rel=\"noopener\">says\u003c/a> actors of color seem to be receiving deserved recognition from everywhere \u003cem>but\u003c/em> the Academy:\u003c/p>\n\u003cblockquote>\n\u003cp>“If this year’s field feels like déjà vu all over again, that’s because there’s virtually no improvement to speak of. The lack of nods to actors of color — and stories about people of color — comes despite Golden Globe nominations for Idris Elba (Beasts of No Nation) and Will Smith (Concussion); despite the critical success of Beasts of No Nation, Straight Outta Compton and Creed, not to mention widespread accolades calling the latter’s director, Ryan Coogler, one of the most promising new talents in the industry.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Todd VanDerWerff at Vox delves into the \u003ca href=\"http://www.vox.com/2016/1/14/10767662/oscar-nominations-2016-so-white\" target=\"_blank\" rel=\"noopener\">context\u003c/a> of diversity within the movie industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“Diversity, in short, isn’t about simply including as many nonwhite men as possible. It’s about acknowledging that white men don’t have a lock on good stories, and letting others’ stories be told as well as possible. The Oscars improve at this conversation in fits and starts with every year. This year was much better in terms of recognizing films about women than the past several years have been, for instance. But the awards still have a long way to go. And as the film industry’s most prestigious prize, simply bestowing their stamp upon a film automatically makes it more viable.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Filmmaker Spike Lee shared his \u003ca href=\"http://www.cnn.com/2016/01/18/entertainment/oscars-boycott-spike-lee-jada-pinkett-smith-feat/\" target=\"_blank\" rel=\"noopener\">views\u003c/a> on the roots of the issue, as reported by Brandon Griggs of CNN:\u003c/p>\n\u003cblockquote>\n\u003cp>“Lee said the ‘real’ battle’ over racism in Hollywood is not with the Academy Awards but in ‘the executive offices of the Hollywood studios and TV and cable networks,’ where gatekeepers decide which projects get made and which don’t.”\u003c/p>\n\u003cp>“‘People, the truth is we ain’t in those rooms, and until minorities are, the Oscar nominees will remain lily white,’ he wrote [on his Instagram].”\u003c/p>\n\u003c/blockquote>\n\u003cp>The Academy did, in fact, try to broaden its voting membership in \u003ca href=\"http://variety.com/2015/film/awards/oscar-diversity-in-new-members-1201528597/\" target=\"_blank\" rel=\"noopener\">2015\u003c/a>. Rebecca Keegan and Steven Zeitchik of the \u003cem>Los Angeles Times\u003c/em> \u003ca href=\"http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-all-white-oscar-acting-nominees-20160114-story.html\" target=\"_blank\" rel=\"noopener\">write\u003c/a> about the new changes that took place within the Academy. Not only did the Academy invite over 300 new members, but they also launched A2020, a new initiative designed to promote inclusion within the organization. However, Steve Pond at The Wrap \u003ca href=\"http://www.thewrap.com/academy-members-applaud-oscars-push-for-diversity/\" target=\"_blank\" rel=\"noopener\">questions\u003c/a> the feasibility of the changes:\u003c/p>\n\u003cblockquote>\n\u003cp>“[It] raises the question of whether an organization the size of the Academy can be changed significantly just through an influx of new members. Many AMPAS-watchers have suggested that any real Academy makeover would have to also include purging the voting rolls of older members who have not worked in the movie industry in years or even decades.That, however, would be a huge step that would likely anger an enormous number of members, and one that [Academy president Cheryl Boone] Isaacs’ statement does not address.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Tim Gray at \u003cem>Variety\u003c/em> \u003ca href=\"http://variety.com/2016/biz/news/oscar-nominations-2016-diversity-white-1201674903/\" target=\"_blank\" rel=\"noopener\">explains\u003c/a> how A2020, which was \u003ca href=\"http://www.hollywoodreporter.com/news/spike-lee-getting-a-black-840371\" target=\"_blank\" rel=\"noopener\">launched\u003c/a> in November 2015 to help the Academy and studio executives expand their thinking when hiring and mentoring new talent, might work (or not):\u003c/p>\n\u003cblockquote>\n\u003cp>For pessimists, a five-year plan is too slow. But the harsh reality is that the film industry works at a glacial pace, locking in stars, writers and directors several years in advance. So even though studios and agencies may say they want immediate change, it’s a question-mark how realistic that is; an overhaul was not evident in this year’s nominations, and it may not be apparent next year either.\u003c/p>\n\u003c/blockquote>\n\u003cp>This is an issue Academy President Cheryl Boone Isaacs, who is African-American, expressed in a \u003ca href=\"https://twitter.com/TheAcademy/status/689287654492377089\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> released on Twitter on Sunday, saying she is “heartbroken and frustrated by the lack of inclusion”:\u003c/p>\n\u003cblockquote>\n\u003cp>As many of you know, we have implemented changes to diversify our membership in the last four years. But the change is not coming as fast as we would like. We need to do more, and better and more quickly . . . This isn’t unprecedented for the Academy. In the ’60s and ’70s it was about recruiting younger members to stay vital and relevant. In 2016, the mandate is inclusion in all of its facets: gender, race, ethnicity and sexual orientation. We recognize the very real concerns of our community, and I so appreciate all of you who have reached out to me in our effort to move forward together.\u003c/p>\n\u003c/blockquote>\n\u003cp>While criticism of Isaacs and the Academy abounds, David Oyelowo, who played Martin Luther King, Jr. in \u003cem>Selma\u003c/em>, \u003ca href=\"http://www.refinery29.com/2016/01/101458/cheryl-boone-isaacs-oscars-2016-diversity\" target=\"_blank\" rel=\"noopener\">addressed\u003c/a> this issue in a gala honoring Isaacs, according to \u003ca href=\"http://www.refinery29.com/2016/01/101458/cheryl-boone-isaacs-oscars-2016-diversity\" target=\"_blank\" rel=\"noopener\">Refinery29\u003c/a> and \u003ca href=\"http://www.hollywoodreporter.com/news/actor-david-oyelowo-slams-academy-857045\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter.\u003c/a> (Read more about \u003ca href=\"http://ww2.kqed.org/arts/2016/01/19/academy-has-a-problem-david-oyelowo-says-at-mlk-event-honoring-academy-president/\" target=\"_blank\" rel=\"noopener\">his statements on KQED Arts\u003c/a>):\u003c/p>\n\u003cblockquote>\n\u003cp>“Oyelowo said: ‘This institution doesn’t reflect its president and it doesn’t reflect this room. I am an Academy member and it doesn’t reflect me, and it doesn’t reflect this nation.’ Still, he offered his ‘support’ for Isaacs. ‘The Academy is an institution in which they all say radical and timely change cannot happen quickly,’ Oyelowo said, per \u003cem>THR\u003c/em>. ‘It better happen quickly. The law of this country can change in a matter of months. It better come on. The Oscars is on February 28. Cheryl needs us to pray that by that date, change is going to come. We need to pray for Cheryl, we need to support Cheryl, we need to love Cheryl. We cannot afford to get bitter, we cannot afford to get negative. But we must make our voice heard.'”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Diversity+In+Hollywood%3A+Here%27s+What+Critics+Are+Saying+About+Round+2+Of+%23OscarSoWhite&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Diversity In Hollywood: Here's What Critics Are Saying About Round 2 of #OscarSoWhite | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week saw the unhappy reprise of #\u003ca href=\"https://twitter.com/hashtag/oscarssowhite?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener\">OscarSoWhite\u003c/a>, a Twitter hashtag that’s becoming something of an annual tradition skewering the lack of diversity in nominations for the Academy Awards. Many fans and critics are frustrated — to say the least — that all of this year’s nominees in acting categories are white, citing Michael B. Jordan’s performance in \u003cem>Creed\u003c/em> as one of a handful of expected shoe-ins for recognition.\u003c/p>\n\u003cp>Now, thousands are pledging to boycott watching the awards ceremony on television, and Jada Pinkett-Smith and Spike Lee have \u003ca href=\"http://www.bbc.com/news/world-us-canada-35348062\" target=\"_blank\" rel=\"noopener\">publicly stated\u003c/a> that they will not attend.\u003c/p>\n\u003cp>We’ve rounded up some of the most thoughtful responses to #OscarsSoWhite, shedding light on the history of race in Hollywood, how Oscars voting actually works, and how the Academy could respond to the backlash.\u003c/p>\n\u003cp>Eliza Berman of \u003cem>Time\u003c/em> \u003ca href=\"http://time.com/4180868/oscar-nominations-analysis/\" target=\"_blank\" rel=\"noopener\">says\u003c/a> actors of color seem to be receiving deserved recognition from everywhere \u003cem>but\u003c/em> the Academy:\u003c/p>\n\u003cblockquote>\n\u003cp>“If this year’s field feels like déjà vu all over again, that’s because there’s virtually no improvement to speak of. The lack of nods to actors of color — and stories about people of color — comes despite Golden Globe nominations for Idris Elba (Beasts of No Nation) and Will Smith (Concussion); despite the critical success of Beasts of No Nation, Straight Outta Compton and Creed, not to mention widespread accolades calling the latter’s director, Ryan Coogler, one of the most promising new talents in the industry.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Todd VanDerWerff at Vox delves into the \u003ca href=\"http://www.vox.com/2016/1/14/10767662/oscar-nominations-2016-so-white\" target=\"_blank\" rel=\"noopener\">context\u003c/a> of diversity within the movie industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“Diversity, in short, isn’t about simply including as many nonwhite men as possible. It’s about acknowledging that white men don’t have a lock on good stories, and letting others’ stories be told as well as possible. The Oscars improve at this conversation in fits and starts with every year. This year was much better in terms of recognizing films about women than the past several years have been, for instance. But the awards still have a long way to go. And as the film industry’s most prestigious prize, simply bestowing their stamp upon a film automatically makes it more viable.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Filmmaker Spike Lee shared his \u003ca href=\"http://www.cnn.com/2016/01/18/entertainment/oscars-boycott-spike-lee-jada-pinkett-smith-feat/\" target=\"_blank\" rel=\"noopener\">views\u003c/a> on the roots of the issue, as reported by Brandon Griggs of CNN:\u003c/p>\n\u003cblockquote>\n\u003cp>“Lee said the ‘real’ battle’ over racism in Hollywood is not with the Academy Awards but in ‘the executive offices of the Hollywood studios and TV and cable networks,’ where gatekeepers decide which projects get made and which don’t.”\u003c/p>\n\u003cp>“‘People, the truth is we ain’t in those rooms, and until minorities are, the Oscar nominees will remain lily white,’ he wrote [on his Instagram].”\u003c/p>\n\u003c/blockquote>\n\u003cp>The Academy did, in fact, try to broaden its voting membership in \u003ca href=\"http://variety.com/2015/film/awards/oscar-diversity-in-new-members-1201528597/\" target=\"_blank\" rel=\"noopener\">2015\u003c/a>. Rebecca Keegan and Steven Zeitchik of the \u003cem>Los Angeles Times\u003c/em> \u003ca href=\"http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-all-white-oscar-acting-nominees-20160114-story.html\" target=\"_blank\" rel=\"noopener\">write\u003c/a> about the new changes that took place within the Academy. Not only did the Academy invite over 300 new members, but they also launched A2020, a new initiative designed to promote inclusion within the organization. However, Steve Pond at The Wrap \u003ca href=\"http://www.thewrap.com/academy-members-applaud-oscars-push-for-diversity/\" target=\"_blank\" rel=\"noopener\">questions\u003c/a> the feasibility of the changes:\u003c/p>\n\u003cblockquote>\n\u003cp>“[It] raises the question of whether an organization the size of the Academy can be changed significantly just through an influx of new members. Many AMPAS-watchers have suggested that any real Academy makeover would have to also include purging the voting rolls of older members who have not worked in the movie industry in years or even decades.That, however, would be a huge step that would likely anger an enormous number of members, and one that [Academy president Cheryl Boone] Isaacs’ statement does not address.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Tim Gray at \u003cem>Variety\u003c/em> \u003ca href=\"http://variety.com/2016/biz/news/oscar-nominations-2016-diversity-white-1201674903/\" target=\"_blank\" rel=\"noopener\">explains\u003c/a> how A2020, which was \u003ca href=\"http://www.hollywoodreporter.com/news/spike-lee-getting-a-black-840371\" target=\"_blank\" rel=\"noopener\">launched\u003c/a> in November 2015 to help the Academy and studio executives expand their thinking when hiring and mentoring new talent, might work (or not):\u003c/p>\n\u003cblockquote>\n\u003cp>For pessimists, a five-year plan is too slow. But the harsh reality is that the film industry works at a glacial pace, locking in stars, writers and directors several years in advance. So even though studios and agencies may say they want immediate change, it’s a question-mark how realistic that is; an overhaul was not evident in this year’s nominations, and it may not be apparent next year either.\u003c/p>\n\u003c/blockquote>\n\u003cp>This is an issue Academy President Cheryl Boone Isaacs, who is African-American, expressed in a \u003ca href=\"https://twitter.com/TheAcademy/status/689287654492377089\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> released on Twitter on Sunday, saying she is “heartbroken and frustrated by the lack of inclusion”:\u003c/p>\n\u003cblockquote>\n\u003cp>As many of you know, we have implemented changes to diversify our membership in the last four years. But the change is not coming as fast as we would like. We need to do more, and better and more quickly . . . This isn’t unprecedented for the Academy. In the ’60s and ’70s it was about recruiting younger members to stay vital and relevant. In 2016, the mandate is inclusion in all of its facets: gender, race, ethnicity and sexual orientation. We recognize the very real concerns of our community, and I so appreciate all of you who have reached out to me in our effort to move forward together.\u003c/p>\n\u003c/blockquote>\n\u003cp>While criticism of Isaacs and the Academy abounds, David Oyelowo, who played Martin Luther King, Jr. in \u003cem>Selma\u003c/em>, \u003ca href=\"http://www.refinery29.com/2016/01/101458/cheryl-boone-isaacs-oscars-2016-diversity\" target=\"_blank\" rel=\"noopener\">addressed\u003c/a> this issue in a gala honoring Isaacs, according to \u003ca href=\"http://www.refinery29.com/2016/01/101458/cheryl-boone-isaacs-oscars-2016-diversity\" target=\"_blank\" rel=\"noopener\">Refinery29\u003c/a> and \u003ca href=\"http://www.hollywoodreporter.com/news/actor-david-oyelowo-slams-academy-857045\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter.\u003c/a> (Read more about \u003ca href=\"http://ww2.kqed.org/arts/2016/01/19/academy-has-a-problem-david-oyelowo-says-at-mlk-event-honoring-academy-president/\" target=\"_blank\" rel=\"noopener\">his statements on KQED Arts\u003c/a>):\u003c/p>\n\u003cblockquote>\n\u003cp>“Oyelowo said: ‘This institution doesn’t reflect its president and it doesn’t reflect this room. I am an Academy member and it doesn’t reflect me, and it doesn’t reflect this nation.’ Still, he offered his ‘support’ for Isaacs. ‘The Academy is an institution in which they all say radical and timely change cannot happen quickly,’ Oyelowo said, per \u003cem>THR\u003c/em>. ‘It better happen quickly. The law of this country can change in a matter of months. It better come on. The Oscars is on February 28. Cheryl needs us to pray that by that date, change is going to come. We need to pray for Cheryl, we need to support Cheryl, we need to love Cheryl. We cannot afford to get bitter, we cannot afford to get negative. But we must make our voice heard.'”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Diversity+In+Hollywood%3A+Here%27s+What+Critics+Are+Saying+About+Round+2+Of+%23OscarSoWhite&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"meta": {
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 5
},
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