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"content": "\u003cp>Last year the jazz world celebrated the 50th anniversary of John Coltrane’s spiritually charged album, \"A Love Supreme,\" a work embraced then and now as a masterpiece. The saxophonist’s next major release, 1966’s \"Ascension,\" left the jazz world divided, and it’s safe to say its golden anniversary is going to pass without much notice by the jazz establishment.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/242187183\" 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>A 40-minute piece that explodes from a simple five-note theme referencing the “Acknowledgement” section of \"A Love Supreme,\" \"Ascension\" is an ecstatic free jazz revelation featuring 11 musicians, including Coltrane’s classic quartet and an almost ad hoc collection of horn players. \u003c/p>\n\u003cp>Where \"A Love Supreme\" served as a finely wrought vessel for Coltrane’s spiritual yearning, \"Ascension\" was more like glimpsing the face of God directly, and many of Coltrane’s fans refused to follow him into this daunting realm.\u003c/p>\n\u003cp>Leave it to \u003ca href=\"http://www.rova.org/\" target=\"_blank\">Rova\u003c/a>, the long-running Bay Area saxophone quartet featuring Steve Adams, Bruce Ackley, Jon Raskin and Larry Ochs, to put their own stamp on this marvelously unruly music. Their new release, \"Rova Channeling Coltrane,\" is a three-disc set with a CD, DVD and Blu-ray of the 12-piece Orkestrova \u003ca href=\"http://www.rova.org/projects/electric-ascension.html\" target=\"_blank\">performing \"Electric Ascension\"\u003c/a> at the Guelph Jazz Festival in Ontario in 2012.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-10833884\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/RovaCover.jpg\" alt=\"RovaCover\" width=\"1057\" height=\"1500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover.jpg 1057w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-400x568.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-800x1135.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-768x1090.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-960x1362.jpg 960w\" sizes=\"(max-width: 1057px) 100vw, 1057px\">\u003c/p>\n\u003cp>Rova has been wrestling with \"Ascension\" for decades. They released an acoustic version of the work back in 1995 featuring the same instrumentation as Coltrane’s recording. But when they revisited it as part of their 25\u003csup>th\u003c/sup> anniversary season in 2003, they included volatile electric guitarists Nels Cline and Fred Frith, and electronics experts Chris Brown and Ikue Mori. \u003c/p>\n\u003cp>I caught that concert and it was a stunning experience, but the version documented on \"Rova Channeling Coltrane\" is more powerful (the set also includes \"Cleaning the Mirror,\" a thoughtful 44-minute film by Bay Area documentarian John Rogers on the enduring influence of \"Ascension\" and the making of \"Electric Ascension\").\u003c/p>\n\u003cp>Over four decades Rova has recorded a vast array of new music, generating their own material and often commissioning new works. Rova deftly sidesteps whatever pitfalls some jazz artists encounter by dwelling on the music of past masters by treating \"Ascension\" as a point of departure rather than a destination.\u003c/p>\n\u003cp>https://vimeo.com/78500784\u003c/p>\n\u003cp>For Rova, Coltrane’s improvisational framework serves as the fulcrum for a community of musicians. The cast here also includes two Chicago masters: powerhouse drummer Hamid Drake and the polymorphously creative cornetist Rob Mazurek. Arranged by Ochs and Raskin, \"Electric Ascension\" unfolds as a study in contrasts, with bristling density and gleaming transparency.\u003c/p>\n\u003cp>Interpreting a work as abstract and unbounded as this might seem like an invitation to let loose, but Rova’s crew knows all about the power of silence and space. Free improvisation doesn’t mean everybody wailing all the time. It’s about listening as much as playing, and these musicians create a distinct choreography out of the music’s tension and release, phasing in and out of the fray. When the thicket of sound clears, quiet interludes by Cline, Kihlstedt and Scheinman reveal the striking beauty and quietude that lurked within late-career Coltrane.\u003c/p>\n\u003cp>The saxophonist died of cancer in 1967 and his music evolved considerably in the two years after recording \"Ascension.\" At the time he said, “There are always new sounds to imagine: new feelings to get at. ... But to do that at each stage, we have to keep on cleaning the mirror.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rova takes that directive to heart. More than ever, this latest \"Electric Ascension\" distills truths and essences for an entire constellation of artists. While not for every listener, it’s an album that can surprise, amaze and gratify if given the chance.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year the jazz world celebrated the 50th anniversary of John Coltrane’s spiritually charged album, \"A Love Supreme,\" a work embraced then and now as a masterpiece. The saxophonist’s next major release, 1966’s \"Ascension,\" left the jazz world divided, and it’s safe to say its golden anniversary is going to pass without much notice by the jazz establishment.\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/242187183&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/242187183'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A 40-minute piece that explodes from a simple five-note theme referencing the “Acknowledgement” section of \"A Love Supreme,\" \"Ascension\" is an ecstatic free jazz revelation featuring 11 musicians, including Coltrane’s classic quartet and an almost ad hoc collection of horn players. \u003c/p>\n\u003cp>Where \"A Love Supreme\" served as a finely wrought vessel for Coltrane’s spiritual yearning, \"Ascension\" was more like glimpsing the face of God directly, and many of Coltrane’s fans refused to follow him into this daunting realm.\u003c/p>\n\u003cp>Leave it to \u003ca href=\"http://www.rova.org/\" target=\"_blank\">Rova\u003c/a>, the long-running Bay Area saxophone quartet featuring Steve Adams, Bruce Ackley, Jon Raskin and Larry Ochs, to put their own stamp on this marvelously unruly music. Their new release, \"Rova Channeling Coltrane,\" is a three-disc set with a CD, DVD and Blu-ray of the 12-piece Orkestrova \u003ca href=\"http://www.rova.org/projects/electric-ascension.html\" target=\"_blank\">performing \"Electric Ascension\"\u003c/a> at the Guelph Jazz Festival in Ontario in 2012.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-10833884\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/RovaCover.jpg\" alt=\"RovaCover\" width=\"1057\" height=\"1500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover.jpg 1057w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-400x568.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-800x1135.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-768x1090.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-960x1362.jpg 960w\" sizes=\"(max-width: 1057px) 100vw, 1057px\">\u003c/p>\n\u003cp>Rova has been wrestling with \"Ascension\" for decades. They released an acoustic version of the work back in 1995 featuring the same instrumentation as Coltrane’s recording. But when they revisited it as part of their 25\u003csup>th\u003c/sup> anniversary season in 2003, they included volatile electric guitarists Nels Cline and Fred Frith, and electronics experts Chris Brown and Ikue Mori. \u003c/p>\n\u003cp>I caught that concert and it was a stunning experience, but the version documented on \"Rova Channeling Coltrane\" is more powerful (the set also includes \"Cleaning the Mirror,\" a thoughtful 44-minute film by Bay Area documentarian John Rogers on the enduring influence of \"Ascension\" and the making of \"Electric Ascension\").\u003c/p>\n\u003cp>Over four decades Rova has recorded a vast array of new music, generating their own material and often commissioning new works. Rova deftly sidesteps whatever pitfalls some jazz artists encounter by dwelling on the music of past masters by treating \"Ascension\" as a point of departure rather than a destination.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Rova, Coltrane’s improvisational framework serves as the fulcrum for a community of musicians. The cast here also includes two Chicago masters: powerhouse drummer Hamid Drake and the polymorphously creative cornetist Rob Mazurek. Arranged by Ochs and Raskin, \"Electric Ascension\" unfolds as a study in contrasts, with bristling density and gleaming transparency.\u003c/p>\n\u003cp>Interpreting a work as abstract and unbounded as this might seem like an invitation to let loose, but Rova’s crew knows all about the power of silence and space. Free improvisation doesn’t mean everybody wailing all the time. It’s about listening as much as playing, and these musicians create a distinct choreography out of the music’s tension and release, phasing in and out of the fray. When the thicket of sound clears, quiet interludes by Cline, Kihlstedt and Scheinman reveal the striking beauty and quietude that lurked within late-career Coltrane.\u003c/p>\n\u003cp>The saxophonist died of cancer in 1967 and his music evolved considerably in the two years after recording \"Ascension.\" At the time he said, “There are always new sounds to imagine: new feelings to get at. ... But to do that at each stage, we have to keep on cleaning the mirror.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rova takes that directive to heart. More than ever, this latest \"Electric Ascension\" distills truths and essences for an entire constellation of artists. While not for every listener, it’s an album that can surprise, amaze and gratify if given the chance.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "actor-idris-elba-to-british-politicians-more-diversity-needed-in-media",
"title": "Actor Idris Elba to Politicians: More Diversity Needed in Media",
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"content": "\u003cp>Idris Elba is expected to make a speech about a lack of diversity on British television before members of Parliament and senior TV executives on Monday, \u003ca href=\"http://www.theguardian.com/culture/2016/jan/17/idris-elba-black-actors-lack-of-diversity-uk-television\" target=\"_blank\" rel=\"noopener\">according to \u003c/a>\u003cem>\u003ca href=\"http://www.theguardian.com/culture/2016/jan/17/idris-elba-black-actors-lack-of-diversity-uk-television\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Elba gained popularity after his breakout role as Stringer Bell on HBO’s \u003cem>\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/01/06/375147386/rewatching-the-wire-classic-crime-drama-seems-written-for-today\" target=\"_blank\" rel=\"noopener\">The Wire\u003c/a>, \u003c/em>won a Golden Globe award for his lead role on the \u003ca href=\"https://en.wikipedia.org/wiki/Luther_(TV_series)\" target=\"_blank\" rel=\"noopener\">BBC series \u003c/a>\u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Luther_(TV_series)\" target=\"_blank\" rel=\"noopener\">Luther\u003c/a> \u003c/em>and is a current Screen Actor’s Guild Award nominee for his stint as Commandant in \u003cem>\u003ca href=\"http://www.npr.org/2015/10/16/448718006/in-the-midst-of-war-a-boy-becomes-a-soldier-in-beasts-of-no-nation\" target=\"_blank\" rel=\"noopener\">Beasts of No Nation\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The London native is expected to point to his own experience having to move to the U.S. to land roles before being able to get a lead role in his home country, according to \u003cem>The Guardian\u003c/em>, which has excerpts of his speech.\u003c/p>\n\u003cblockquote>\n\u003cp>“I knew I wasn’t going to land a lead role. I knew there wasn’t enough imagination in the industry for me to be seen as a lead. In other words, if I wanted to star in a British drama like \u003cem>Luther\u003c/em>, then I’d have to go to a country like America. And the other thing was, because I never saw myself on TV, I stopped watching TV. Instead I decided to just go out and become TV.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Elba will tell the audience that without going to the U.S., he would have remained the “best friend” and “cop sidekick,” adding:\u003c/p>\n\u003cblockquote>\n\u003cp>“But when you don’t reflect the real world, too much talent gets trashed. Thrown on the scrapheap. Talent is everywhere, opportunity isn’t. And talent can’t reach opportunity.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Elba is not the first British actor of color to make these observations, late last year David Oyelowo, who starred as \u003ca href=\"http://www.npr.org/2015/05/28/409718943/david-oyelowo-on-acting-his-royal-roots-and-the-one-role-he-wont-take\" target=\"_blank\" rel=\"noopener\">Martin Luther King Jr. in \u003cem>Selma\u003c/em>\u003c/a>, \u003ca href=\"http://www.theguardian.com/film/2015/sep/28/roles-uk-black-minority-ethnic-actors-worse-than-ever-claims-david-oyelowo\" target=\"_blank\" rel=\"noopener\">told \u003c/a>\u003cem>\u003ca href=\"http://www.theguardian.com/film/2015/sep/28/roles-uk-black-minority-ethnic-actors-worse-than-ever-claims-david-oyelowo\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> \u003c/em>he also felt “pushed out of the U.K. because of the glass ceiling” that prevented actors of color from landing lead roles in his home country.\u003c/p>\n\u003cblockquote>\n\u003cp>“I could see that actors, my peers, those who had a similar trajectory to me were going on to do movies, to play leads. I started to feel I was going to go round in circles. Nice TV, back to the theatre, nice TV … but I wasn’t going to be James McAvoy, I wasn’t going to be Benedict Cumberbatch.’\u003c/p>\n\u003c/blockquote>\n\u003cp>Sophie Okonedo, who snagged a best supporting actress Oscar nomination for \u003cem>Hotel Rwanda\u003c/em> in 2004, and won a Tony award for \u003cem>A Raisin in the Sun\u003c/em>, \u003ca href=\"http://www.theguardian.com/film/2014/jul/04/sophie-okonedo-interview\" target=\"_blank\" rel=\"noopener\">told the publication\u003c/a> in 2014 she was “still struggling [in the U.K.] in a way that my white counterparts at the same level wouldn’t have quite the same struggle. People who started with me would have their own series by now, and I’m still fighting to get the second lead or whatever. I think I’m at a certain level and have a good range, so why isn’t my inbox of English scripts busting at the seams in the same way as my American one is? There’s something amiss there.” \u003cem>\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=Actor+Idris+Elba+To+British+Politicians%3A+More+Diversity+Needed+In+Media&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Idris Elba is expected to make a speech about a lack of diversity on British television before members of Parliament and senior TV executives on Monday, \u003ca href=\"http://www.theguardian.com/culture/2016/jan/17/idris-elba-black-actors-lack-of-diversity-uk-television\" target=\"_blank\" rel=\"noopener\">according to \u003c/a>\u003cem>\u003ca href=\"http://www.theguardian.com/culture/2016/jan/17/idris-elba-black-actors-lack-of-diversity-uk-television\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Elba gained popularity after his breakout role as Stringer Bell on HBO’s \u003cem>\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/01/06/375147386/rewatching-the-wire-classic-crime-drama-seems-written-for-today\" target=\"_blank\" rel=\"noopener\">The Wire\u003c/a>, \u003c/em>won a Golden Globe award for his lead role on the \u003ca href=\"https://en.wikipedia.org/wiki/Luther_(TV_series)\" target=\"_blank\" rel=\"noopener\">BBC series \u003c/a>\u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Luther_(TV_series)\" target=\"_blank\" rel=\"noopener\">Luther\u003c/a> \u003c/em>and is a current Screen Actor’s Guild Award nominee for his stint as Commandant in \u003cem>\u003ca href=\"http://www.npr.org/2015/10/16/448718006/in-the-midst-of-war-a-boy-becomes-a-soldier-in-beasts-of-no-nation\" target=\"_blank\" rel=\"noopener\">Beasts of No Nation\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The London native is expected to point to his own experience having to move to the U.S. to land roles before being able to get a lead role in his home country, according to \u003cem>The Guardian\u003c/em>, which has excerpts of his speech.\u003c/p>\n\u003cblockquote>\n\u003cp>“I knew I wasn’t going to land a lead role. I knew there wasn’t enough imagination in the industry for me to be seen as a lead. In other words, if I wanted to star in a British drama like \u003cem>Luther\u003c/em>, then I’d have to go to a country like America. And the other thing was, because I never saw myself on TV, I stopped watching TV. Instead I decided to just go out and become TV.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Elba will tell the audience that without going to the U.S., he would have remained the “best friend” and “cop sidekick,” adding:\u003c/p>\n\u003cblockquote>\n\u003cp>“But when you don’t reflect the real world, too much talent gets trashed. Thrown on the scrapheap. Talent is everywhere, opportunity isn’t. And talent can’t reach opportunity.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Elba is not the first British actor of color to make these observations, late last year David Oyelowo, who starred as \u003ca href=\"http://www.npr.org/2015/05/28/409718943/david-oyelowo-on-acting-his-royal-roots-and-the-one-role-he-wont-take\" target=\"_blank\" rel=\"noopener\">Martin Luther King Jr. in \u003cem>Selma\u003c/em>\u003c/a>, \u003ca href=\"http://www.theguardian.com/film/2015/sep/28/roles-uk-black-minority-ethnic-actors-worse-than-ever-claims-david-oyelowo\" target=\"_blank\" rel=\"noopener\">told \u003c/a>\u003cem>\u003ca href=\"http://www.theguardian.com/film/2015/sep/28/roles-uk-black-minority-ethnic-actors-worse-than-ever-claims-david-oyelowo\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> \u003c/em>he also felt “pushed out of the U.K. because of the glass ceiling” that prevented actors of color from landing lead roles in his home country.\u003c/p>\n\u003cblockquote>\n\u003cp>“I could see that actors, my peers, those who had a similar trajectory to me were going on to do movies, to play leads. I started to feel I was going to go round in circles. Nice TV, back to the theatre, nice TV … but I wasn’t going to be James McAvoy, I wasn’t going to be Benedict Cumberbatch.’\u003c/p>\n\u003c/blockquote>\n\u003cp>Sophie Okonedo, who snagged a best supporting actress Oscar nomination for \u003cem>Hotel Rwanda\u003c/em> in 2004, and won a Tony award for \u003cem>A Raisin in the Sun\u003c/em>, \u003ca href=\"http://www.theguardian.com/film/2014/jul/04/sophie-okonedo-interview\" target=\"_blank\" rel=\"noopener\">told the publication\u003c/a> in 2014 she was “still struggling [in the U.K.] in a way that my white counterparts at the same level wouldn’t have quite the same struggle. People who started with me would have their own series by now, and I’m still fighting to get the second lead or whatever. I think I’m at a certain level and have a good range, so why isn’t my inbox of English scripts busting at the seams in the same way as my American one is? There’s something amiss there.” \u003cem>\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=Actor+Idris+Elba+To+British+Politicians%3A+More+Diversity+Needed+In+Media&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Preserving Gold Rush-era Heritage Trees With Amigo Bob Cantisano",
"title": "Preserving Gold Rush-era Heritage Trees With Amigo Bob Cantisano",
"headTitle": "California Foodways | The California Report | KQED News",
"content": "\u003cp>Who doesn’t like a treasure hunt? The search for something mysterious and valuable, with just a few clues for guidance, is pretty irresistible. In California’s Nevada County, an unusual explorer with an unusual name -- Amigo Bob Cantisano -- hunts for remnants of the Gold Rush, just not the kind you might expect.\u003c/p>\n\u003cp>The treasures Cantisano seeks are trees, the fruits and nuts and ornamentals planted at homesteads and stagecoach stops and small orchards in the late 1800s.\u003c/p>\n\u003cp>Despite decades of neglect, many are still highly productive and could prove valuable at a time when California faces drought and the effects of climate change. Cantisano is looking to bring the best-tasting, heartiest ones back to life, back to gardens and farms.\u003c/p>\n\u003caside class=\"pullquote alignright\">Resilient heirloom trees have lessons for growers in California today, where highly tended crops face drought, pests and disease.\u003c/aside>\n\u003cp>He and two partners run a nonprofit organization: the \u003ca href=\"http://felixgillet.org/\">Felix Gillet Institute\u003c/a>. They’re committed to finding, identifying and propagating heirloom fruits and nuts from which they sell to gardeners and small farmers in Northern California and Oregon.\u003c/p>\n\u003cp>At his home about 20 minutes outside the picturesque Gold Country town of Nevada City, in the northeastern part of the state, Cantisano (the “Amigo” was a high school nickname that stuck) shows me around his garden and nursery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Almost as an aside, he points to one plant, saying, “We have a lilac named after a friend of ours, Kate Wolf.” When I push, an illuminating story tumbles out: the late singer/songwriter spent summers nearby at an old mining camp and, decades ago, told Cantisano the backstory of her song “\u003ca href=\"https://www.youtube.com/watch?v=q83NqwtdBZk\">The Lilac and The Apple\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q83NqwtdBZk\u003c/p>\n\u003cp>“Kate wrote the song about walking into an old homestead with the house no longer there, and finding this apple and lilac growing on a hill,” he says.\u003c/p>\n\u003cp>In the song, Wolf imagines the plants reminiscing about the miners and mill workers who planted them, the lilac and the apple the only evidence that people once lived there.\u003c/p>\n\u003cp>“After she passed away, I started wondering about where that was,” he says.\u003c/p>\n\u003cp>After years of searching for the homestead, Cantisano finally got a lead. He walked for hours in forest along the Yuba River when, bingo: the lilac and the apple were still growing, side by side. He took cuttings and he’s been nurturing them in his nursery ever since.\u003c/p>\n\u003cfigure id=\"attachment_10834091\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834091\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/AmigoHarvests-1-800x508.jpg\" alt=\"Amigo Bob harvests persimmons at what was once a stagecoach stop.\" width=\"800\" height=\"508\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-768x487.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-1440x914.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-1180x749.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-960x609.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo Bob harvests persimmons at what was once a stagecoach stop. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cantisano straps a ladder on his car, tosses bags in his trunk and takes me on a tour. Instead of pointing out old buildings, he shows me his favorite walnut, the rose and apple that grow in the cemetery, and a 120-year-old pear tree standing tall between a community hall and a gas station.\u003c/p>\n\u003cp>“It is absolutely just the most hearty tree,” he says, looking at the tree like it’s a friend. “It’s thrown huge crops every year in the drought. It doesn’t get diseases, it doesn’t get insects. Nobody prunes it, nobody waters it, nobody fertilizes it, and it is just prolific as heck. I’ve picked over 500 pounds of pears off of it.”\u003c/p>\n\u003cp>Cantisano says these resilient heirloom trees have lessons for growers in California today, where highly tended crops face drought, pests and disease.\u003c/p>\n\u003cp>“If we can figure out how to take those characteristics and meld them into modern agriculture, we’re going to have a more sustainable agriculture,” he says.\u003c/p>\n\u003cp>With a name like Amigo, dreadlocks down to his waist, and a year-round outfit of shorts and tie-dye, Cantisano has had plenty of people write him off over the years.\u003c/p>\n\u003cfigure id=\"attachment_10834089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834089\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/Sidone-800x744.jpg\" alt=\"The property of Cantisano's friend Sidonie Christian is full of mature trees, and Cantisano sees the impact of Felix Gillet, the Frenchman who ran a nursery in Nevada City in the late 1800s. “This homestead clearly has Gillet vibe all through it," he says. "All these trees are Gillet-era plants."\" width=\"800\" height=\"744\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-800x744.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-400x372.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-768x714.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-1440x1339.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-1180x1097.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-960x893.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The property of Cantisano's friend Sidonie Christian is full of mature trees, and Cantisano sees the impact of Felix Gillet, the Frenchman who ran a nursery in Nevada City in the late 1800s. “This homestead clearly has Gillet vibe all through it,\" he says. \"All these trees are Gillet-era plants.\" \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m a hippie, OK!” he says with a laugh. More to the point, he’s an influential founding figure in California’s organic agriculture movement. Cantisano co-founded California Certified Organic Farmers -- a leading organic certification organization -- and advises a bunch of the big agriculture corporations on how to adopt organic methods for their operations, to highlight just a couple points on his extensive resume.\u003c/p>\n\u003cp>Cantisano was practically born into this work. His grandmother, Dorothy Moraga, gardened in her Bay Area home.\u003c/p>\n\u003cp>[contextly_sidebar id=\"DGCEY4EzC6GzmxM7Gj8v8wwK5IQ2tSyb\"]\u003c/p>\n\u003cp>“She grew fava beans, made compost from the manure from our chickens, squashed the bugs and hoed the weeds,” he says, basically gardening organically before anyone used the term.\u003c/p>\n\u003cp>“I remember crawling around in the dirt, picking cucumbers with her.”\u003c/p>\n\u003cp>His interest piqued, Cantisano provided food for the San Francisco communes he lived in as a teenager by gardening. At the first Earth Day in 1970, he heard about pesticide hazards.\u003c/p>\n\u003cp>“A lightbulb went on, as they say,” and he’s worked in organic agriculture ever since. Eventually he moved to Nevada County, where he ran an organic garden supply store. That’s when he found his first abandoned trees, and started to learn about Felix Gillet, the Frenchman who ran a barbershop and then opened a nursery in Nevada City in the late 1800s.\u003c/p>\n\u003cp>“Gillet had plants from almost 35 countries. He was a plant maniac,” says Cantisano. “If you drink wine, you are indebted to Felix Gillet. He had a catalog of 241 types of grapes.”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'If we lose a tree like this chestnut, we lose the genetics of a particularly hearty, productive, high-quality plant. You can’t find those everywhere.'\u003c/aside>\n\u003cp>That’s just grapes. From historic documents he’s found, Cantisano believes many of the trees still growing in the Sierra originated in Gillet’s nursery. When Cantisano and his partners formed their nonprofit, they named it in his honor.\u003c/p>\n\u003cp>Tom Gradziel, of the UC Davis Department of Plant Sciences, says a lot of California agriculture was built on the expertise of nurserymen like Gillet and his contemporaries.\u003c/p>\n\u003cp>“Now we can just go to the grocery store, and there are only one or two varieties of any given fruit or nut,” he says. “The horticulturist in all of us is lost. Nurserymen like Gillet would be appalled.”\u003c/p>\n\u003cfigure id=\"attachment_10834081\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834081\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/AmigoHarvests-800x1373.jpg\" alt=\"Amigo harvests chestnuts from a century-old, heritage tree. "We've tested nearly 100 of them and that's the very best one."\" width=\"800\" height=\"1373\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-800x1373.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-400x686.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-768x1318.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1440x2471.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1180x2024.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-960x1647.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo harvests chestnuts from a century-old, heritage tree. \"We've tested nearly 100 of them and that's the very best one.\" \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lack of diversity in varieties isn’t only dull for our taste buds, he says, it makes crops vulnerable to being wiped out. “The more diverse material we have in both commercial fields and in the backyard, the more resilience there’ll be to better contain disease and pests,” he says. While one variety might perish, another might survive.\u003c/p>\n\u003cp>As a breeder, Gradziel says it’s important to find a diversity of varieties that can work in a range of California environments. “The more we find with proven adaptability -- and the stuff Bob’s finding has proven itself in adaptability -- the better,” he says.\u003c/p>\n\u003cp>When Cantisano drives up to a property owned by his longtime friend, Sidonie Christian, that’s filled with mature trees, he sees Gillet’s living legacy. “This homestead clearly has Gillet vibe all through it,\" he says. \"All these trees are Gillet-era plants: the walnuts, the chestnut, the pear, the apples, the plums, the cherries.”\u003c/p>\n\u003cp>He and Christian rake the porcupine-like pods of chestnuts that have fallen to the ground, then peel and toss them in a basket. Of the 100 chestnuts he and his partners have tested, Cantisano says, “That’s the very best one. They are the tastiest, they’re the biggest.” Plus, Christian adds, they peel easily.\u003c/p>\n\u003cp>Based on tips from friends and their own explorations, the people at the Felix Gillet Institute have a database of more than 600 locations -- and 3,000 plants -- they want to investigate. They’ve gotten to about a fifth of those, evaluating each tree’s health and productivity, harvesting the crops, then inviting friends over to for a taste test of fresh fruit and nuts, pies and juices. They research their favorites, like this chestnut.\u003c/p>\n\u003cfigure id=\"attachment_10834085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834085\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/Chestnuts-800x532.jpg\" alt=\"Amigo Bob and his partners believe these chestnuts come from a Marron de Lyon tree, originally from France. They're working with the University of Pennsylvania to test its DNA.\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo Bob and his partners believe these chestnuts come from a Marron de Lyon tree, originally from France. They're working with the University of Pennsylvania to test its DNA. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We believe it’s called the Marron de Lyon, which means it’s from Lyon, France,” Cantisano says. “Judging from the leaf shape, the size of the nut and the structure of the plant, it looks like it’s a European chestnut.” The University of Pennsylvania is testing this chestnut’s DNA to find out for certain.\u003c/p>\n\u003cp>As they harvest, Christian tells Cantisano about county workers who were doing maintenance nearby and almost ran a beloved apple tree through a chipper.\u003c/p>\n\u003cp>“I ran out yelling, ‘No, no no! The whole neighborhood eats those apples,’ ” she says.\u003c/p>\n\u003cp>So I ask Cantisano: What happens when you lose a century-old heritage tree?\u003c/p>\n\u003cp>“If we lose a tree like this chestnut, we lose the genetics of a particularly hearty, productive, high-quality plant. You can’t find those everywhere.”\u003c/p>\n\u003cp>These trees are important for people and neighborhoods, too, says Christian, pointing around her small town.\u003c/p>\n\u003cp>“Generations of kids have eaten apples off that tree. Lots of people put chestnuts off this tree into their Thanksgiving stuffing and have done for years,” she says.\u003c/p>\n\u003cp>For Cantisano, this work connects human and botanical history. He says he’ll often stand in front of an old tree, “and just stop and try and feel the vibe of the person who planted it.”\u003c/p>\n\u003cp>He realizes it sounds a little odd but, “I’ve had trees talk to me, like ‘Thank you. You’re taking care of me again. I’ve been alone,' ” not picked for decades.\u003c/p>\n\u003cp>“There is a spirit in those plants,” he says. A spirit he’s trying to keep alive.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This \u003ca href=\"http://ww2.kqed.org/news/series/california-foodways\" target=\"_blank\" rel=\"noopener noreferrer\">California Foodways\u003c/a> piece was produced in collaboration with the \u003ca href=\"https://thefern.org/\">Food & Environment Reporting Network\u003c/a>, a nonprofit investigative news organization.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who doesn’t like a treasure hunt? The search for something mysterious and valuable, with just a few clues for guidance, is pretty irresistible. In California’s Nevada County, an unusual explorer with an unusual name -- Amigo Bob Cantisano -- hunts for remnants of the Gold Rush, just not the kind you might expect.\u003c/p>\n\u003cp>The treasures Cantisano seeks are trees, the fruits and nuts and ornamentals planted at homesteads and stagecoach stops and small orchards in the late 1800s.\u003c/p>\n\u003cp>Despite decades of neglect, many are still highly productive and could prove valuable at a time when California faces drought and the effects of climate change. Cantisano is looking to bring the best-tasting, heartiest ones back to life, back to gardens and farms.\u003c/p>\n\u003caside class=\"pullquote alignright\">Resilient heirloom trees have lessons for growers in California today, where highly tended crops face drought, pests and disease.\u003c/aside>\n\u003cp>He and two partners run a nonprofit organization: the \u003ca href=\"http://felixgillet.org/\">Felix Gillet Institute\u003c/a>. They’re committed to finding, identifying and propagating heirloom fruits and nuts from which they sell to gardeners and small farmers in Northern California and Oregon.\u003c/p>\n\u003cp>At his home about 20 minutes outside the picturesque Gold Country town of Nevada City, in the northeastern part of the state, Cantisano (the “Amigo” was a high school nickname that stuck) shows me around his garden and nursery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Almost as an aside, he points to one plant, saying, “We have a lilac named after a friend of ours, Kate Wolf.” When I push, an illuminating story tumbles out: the late singer/songwriter spent summers nearby at an old mining camp and, decades ago, told Cantisano the backstory of her song “\u003ca href=\"https://www.youtube.com/watch?v=q83NqwtdBZk\">The Lilac and The Apple\u003c/a>.”\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/q83NqwtdBZk'\n title='//www.youtube.com/embed/q83NqwtdBZk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Kate wrote the song about walking into an old homestead with the house no longer there, and finding this apple and lilac growing on a hill,” he says.\u003c/p>\n\u003cp>In the song, Wolf imagines the plants reminiscing about the miners and mill workers who planted them, the lilac and the apple the only evidence that people once lived there.\u003c/p>\n\u003cp>“After she passed away, I started wondering about where that was,” he says.\u003c/p>\n\u003cp>After years of searching for the homestead, Cantisano finally got a lead. He walked for hours in forest along the Yuba River when, bingo: the lilac and the apple were still growing, side by side. He took cuttings and he’s been nurturing them in his nursery ever since.\u003c/p>\n\u003cfigure id=\"attachment_10834091\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834091\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/AmigoHarvests-1-800x508.jpg\" alt=\"Amigo Bob harvests persimmons at what was once a stagecoach stop.\" width=\"800\" height=\"508\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-768x487.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-1440x914.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-1180x749.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-960x609.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo Bob harvests persimmons at what was once a stagecoach stop. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cantisano straps a ladder on his car, tosses bags in his trunk and takes me on a tour. Instead of pointing out old buildings, he shows me his favorite walnut, the rose and apple that grow in the cemetery, and a 120-year-old pear tree standing tall between a community hall and a gas station.\u003c/p>\n\u003cp>“It is absolutely just the most hearty tree,” he says, looking at the tree like it’s a friend. “It’s thrown huge crops every year in the drought. It doesn’t get diseases, it doesn’t get insects. Nobody prunes it, nobody waters it, nobody fertilizes it, and it is just prolific as heck. I’ve picked over 500 pounds of pears off of it.”\u003c/p>\n\u003cp>Cantisano says these resilient heirloom trees have lessons for growers in California today, where highly tended crops face drought, pests and disease.\u003c/p>\n\u003cp>“If we can figure out how to take those characteristics and meld them into modern agriculture, we’re going to have a more sustainable agriculture,” he says.\u003c/p>\n\u003cp>With a name like Amigo, dreadlocks down to his waist, and a year-round outfit of shorts and tie-dye, Cantisano has had plenty of people write him off over the years.\u003c/p>\n\u003cfigure id=\"attachment_10834089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834089\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/Sidone-800x744.jpg\" alt=\"The property of Cantisano's friend Sidonie Christian is full of mature trees, and Cantisano sees the impact of Felix Gillet, the Frenchman who ran a nursery in Nevada City in the late 1800s. “This homestead clearly has Gillet vibe all through it," he says. "All these trees are Gillet-era plants."\" width=\"800\" height=\"744\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-800x744.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-400x372.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-768x714.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-1440x1339.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-1180x1097.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-960x893.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The property of Cantisano's friend Sidonie Christian is full of mature trees, and Cantisano sees the impact of Felix Gillet, the Frenchman who ran a nursery in Nevada City in the late 1800s. “This homestead clearly has Gillet vibe all through it,\" he says. \"All these trees are Gillet-era plants.\" \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m a hippie, OK!” he says with a laugh. More to the point, he’s an influential founding figure in California’s organic agriculture movement. Cantisano co-founded California Certified Organic Farmers -- a leading organic certification organization -- and advises a bunch of the big agriculture corporations on how to adopt organic methods for their operations, to highlight just a couple points on his extensive resume.\u003c/p>\n\u003cp>Cantisano was practically born into this work. His grandmother, Dorothy Moraga, gardened in her Bay Area home.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“She grew fava beans, made compost from the manure from our chickens, squashed the bugs and hoed the weeds,” he says, basically gardening organically before anyone used the term.\u003c/p>\n\u003cp>“I remember crawling around in the dirt, picking cucumbers with her.”\u003c/p>\n\u003cp>His interest piqued, Cantisano provided food for the San Francisco communes he lived in as a teenager by gardening. At the first Earth Day in 1970, he heard about pesticide hazards.\u003c/p>\n\u003cp>“A lightbulb went on, as they say,” and he’s worked in organic agriculture ever since. Eventually he moved to Nevada County, where he ran an organic garden supply store. That’s when he found his first abandoned trees, and started to learn about Felix Gillet, the Frenchman who ran a barbershop and then opened a nursery in Nevada City in the late 1800s.\u003c/p>\n\u003cp>“Gillet had plants from almost 35 countries. He was a plant maniac,” says Cantisano. “If you drink wine, you are indebted to Felix Gillet. He had a catalog of 241 types of grapes.”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'If we lose a tree like this chestnut, we lose the genetics of a particularly hearty, productive, high-quality plant. You can’t find those everywhere.'\u003c/aside>\n\u003cp>That’s just grapes. From historic documents he’s found, Cantisano believes many of the trees still growing in the Sierra originated in Gillet’s nursery. When Cantisano and his partners formed their nonprofit, they named it in his honor.\u003c/p>\n\u003cp>Tom Gradziel, of the UC Davis Department of Plant Sciences, says a lot of California agriculture was built on the expertise of nurserymen like Gillet and his contemporaries.\u003c/p>\n\u003cp>“Now we can just go to the grocery store, and there are only one or two varieties of any given fruit or nut,” he says. “The horticulturist in all of us is lost. Nurserymen like Gillet would be appalled.”\u003c/p>\n\u003cfigure id=\"attachment_10834081\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834081\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/AmigoHarvests-800x1373.jpg\" alt=\"Amigo harvests chestnuts from a century-old, heritage tree. "We've tested nearly 100 of them and that's the very best one."\" width=\"800\" height=\"1373\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-800x1373.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-400x686.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-768x1318.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1440x2471.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1180x2024.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-960x1647.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo harvests chestnuts from a century-old, heritage tree. \"We've tested nearly 100 of them and that's the very best one.\" \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lack of diversity in varieties isn’t only dull for our taste buds, he says, it makes crops vulnerable to being wiped out. “The more diverse material we have in both commercial fields and in the backyard, the more resilience there’ll be to better contain disease and pests,” he says. While one variety might perish, another might survive.\u003c/p>\n\u003cp>As a breeder, Gradziel says it’s important to find a diversity of varieties that can work in a range of California environments. “The more we find with proven adaptability -- and the stuff Bob’s finding has proven itself in adaptability -- the better,” he says.\u003c/p>\n\u003cp>When Cantisano drives up to a property owned by his longtime friend, Sidonie Christian, that’s filled with mature trees, he sees Gillet’s living legacy. “This homestead clearly has Gillet vibe all through it,\" he says. \"All these trees are Gillet-era plants: the walnuts, the chestnut, the pear, the apples, the plums, the cherries.”\u003c/p>\n\u003cp>He and Christian rake the porcupine-like pods of chestnuts that have fallen to the ground, then peel and toss them in a basket. Of the 100 chestnuts he and his partners have tested, Cantisano says, “That’s the very best one. They are the tastiest, they’re the biggest.” Plus, Christian adds, they peel easily.\u003c/p>\n\u003cp>Based on tips from friends and their own explorations, the people at the Felix Gillet Institute have a database of more than 600 locations -- and 3,000 plants -- they want to investigate. They’ve gotten to about a fifth of those, evaluating each tree’s health and productivity, harvesting the crops, then inviting friends over to for a taste test of fresh fruit and nuts, pies and juices. They research their favorites, like this chestnut.\u003c/p>\n\u003cfigure id=\"attachment_10834085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834085\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/Chestnuts-800x532.jpg\" alt=\"Amigo Bob and his partners believe these chestnuts come from a Marron de Lyon tree, originally from France. They're working with the University of Pennsylvania to test its DNA.\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo Bob and his partners believe these chestnuts come from a Marron de Lyon tree, originally from France. They're working with the University of Pennsylvania to test its DNA. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We believe it’s called the Marron de Lyon, which means it’s from Lyon, France,” Cantisano says. “Judging from the leaf shape, the size of the nut and the structure of the plant, it looks like it’s a European chestnut.” The University of Pennsylvania is testing this chestnut’s DNA to find out for certain.\u003c/p>\n\u003cp>As they harvest, Christian tells Cantisano about county workers who were doing maintenance nearby and almost ran a beloved apple tree through a chipper.\u003c/p>\n\u003cp>“I ran out yelling, ‘No, no no! The whole neighborhood eats those apples,’ ” she says.\u003c/p>\n\u003cp>So I ask Cantisano: What happens when you lose a century-old heritage tree?\u003c/p>\n\u003cp>“If we lose a tree like this chestnut, we lose the genetics of a particularly hearty, productive, high-quality plant. You can’t find those everywhere.”\u003c/p>\n\u003cp>These trees are important for people and neighborhoods, too, says Christian, pointing around her small town.\u003c/p>\n\u003cp>“Generations of kids have eaten apples off that tree. Lots of people put chestnuts off this tree into their Thanksgiving stuffing and have done for years,” she says.\u003c/p>\n\u003cp>For Cantisano, this work connects human and botanical history. He says he’ll often stand in front of an old tree, “and just stop and try and feel the vibe of the person who planted it.”\u003c/p>\n\u003cp>He realizes it sounds a little odd but, “I’ve had trees talk to me, like ‘Thank you. You’re taking care of me again. I’ve been alone,' ” not picked for decades.\u003c/p>\n\u003cp>“There is a spirit in those plants,” he says. A spirit he’s trying to keep alive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This \u003ca href=\"http://ww2.kqed.org/news/series/california-foodways\" target=\"_blank\" rel=\"noopener noreferrer\">California Foodways\u003c/a> piece was produced in collaboration with the \u003ca href=\"https://thefern.org/\">Food & Environment Reporting Network\u003c/a>, a nonprofit investigative news organization.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "lost-weekend-video-1-2-3-4-go-planning-to-relocate-to-new-spaces",
"title": "Lost Weekend Video, 1-2-3-4 Go! Planning to Relocate to New Spaces",
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"headTitle": "Lost Weekend Video, 1-2-3-4 Go! Planning to Relocate to New Spaces | KQED",
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"content": "\u003cp>Lost Weekend Video, one of \u003ca href=\"http://ww2.kqed.org/arts/2014/08/06/can-san-franciscos-video-stores-be-saved/\" target=\"_blank\" rel=\"noopener\">three remaining video rental stores in San Francisco\u003c/a>, is planning on moving later this year after almost 20 years of operating on Valencia Street in San Francisco’s Mission District.\u003c/p>\n\u003cp>The video store has been talking with Texas-based Alamo Drafthouse since late last year about moving into the lobby of their San Francisco theater on Mission St, according to Lost Weekend owner David Hawkins. \u003c/p>\n\u003cp>“They’re giving us very good terms,” Hawkins said, adding that the deal was still in the works and that nothing was definite as of Friday. \u003c/p>\n\u003cp>Rents have risen annually since Lost Weekend moved into the store’s current location at 1034 Valencia St. 19 years ago and it’s been losing revenue since the 2008 recession, Hawkins said. Last year, the store made some big moves to stay open, including starting an \u003ca href=\"https://www.indiegogo.com/projects/save-lost-weekend-video#/\" target=\"_blank\" rel=\"noopener\">online crowdfunding campaign\u003c/a> that raised just under $30,000, and having the \u003ca href=\"http://ww2.kqed.org/arts/2015/03/17/lost-weekend-video-1-2-3-4-go-records-to-partner-up/\" target=\"_blank\" rel=\"noopener\">Oakland record store 1-2-3-4 Go! open a satellite shop\u003c/a> in the front of the video store’s space. \u003c/p>\n\u003cp>Though the record shop brought in more foot traffic and the closing of \u003ca href=\"http://ww2.kqed.org/news/2015/12/09/alamo-drafthouse-makes-deal-to-preserve-titles-from-le-video-collection\" target=\"_blank\" rel=\"noopener\">Le Video back in November\u003c/a> helped Lost Weekend pick up more customers, Hawkins said they have yet to see the increase in revenue needed to justify renting their current location. \u003c/p>\n\u003cfigure id=\"attachment_10479831\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/LostWeekend-800x450.jpg\" alt=\"Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland's 1-2-3-4 Go! Records. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-10479831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-320x180.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland’s 1-2-3-4 Go! Records. \u003ccite>(Photo: Lost Weekend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Nothing is definite yet, but we are probably going to be vacating this space some time in the spring,” Hawkins said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for the comedy shows that are hosted in the video store’s basement, which include the weekly showcase Cynic Cave, Hawkins says he hopes to have them still occur wherever Lost Weekend ends up. Nato Green, one of the comedians who organizes Cynic Cave, said they plan to have a big blowout show on March 5. \u003c/p>\n\u003cp>For 1-2-3-4 Go!, store owner Steve Stevenson said Friday that he’s working out a deal to move the satellite shop into a retail space next door, replacing the clothing shop Dema, which is \u003ca href=\"http://bernalwood.com/2016/01/08/beloved-bernal-owned-dema-clothing-store-closing-this-month/\" target=\"_blank\" rel=\"noopener\">closing at the end of this month\u003c/a>. Stevenson plans to open the new store by March 5.\u003c/p>\n\u003cp>“It’s just sort of my luck,” said Stevenson, who opened the original 1-2-3-4 Go! in a small retail space in Oakland back in 2008. “Right when I needed a new space, one opened up.”\u003c/p>\n\u003cp>Stevenson’s business has been growing since his store first opened, thanks to the “vinyl craze” that has spread globally. Not only did he have to move into a larger space in Oakland just after a few years, the first year of the San Francisco shop’s existence was also successful, he says. The new San Francisco store will still be “well-curated,” but will also include expanded CD and cassette sections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when more details are learned.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The two stores are both currently working deals to move out of their space on Valencia Street, where Lost Weekend Video has been for almost 20 years.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lost Weekend Video, one of \u003ca href=\"http://ww2.kqed.org/arts/2014/08/06/can-san-franciscos-video-stores-be-saved/\" target=\"_blank\" rel=\"noopener\">three remaining video rental stores in San Francisco\u003c/a>, is planning on moving later this year after almost 20 years of operating on Valencia Street in San Francisco’s Mission District.\u003c/p>\n\u003cp>The video store has been talking with Texas-based Alamo Drafthouse since late last year about moving into the lobby of their San Francisco theater on Mission St, according to Lost Weekend owner David Hawkins. \u003c/p>\n\u003cp>“They’re giving us very good terms,” Hawkins said, adding that the deal was still in the works and that nothing was definite as of Friday. \u003c/p>\n\u003cp>Rents have risen annually since Lost Weekend moved into the store’s current location at 1034 Valencia St. 19 years ago and it’s been losing revenue since the 2008 recession, Hawkins said. Last year, the store made some big moves to stay open, including starting an \u003ca href=\"https://www.indiegogo.com/projects/save-lost-weekend-video#/\" target=\"_blank\" rel=\"noopener\">online crowdfunding campaign\u003c/a> that raised just under $30,000, and having the \u003ca href=\"http://ww2.kqed.org/arts/2015/03/17/lost-weekend-video-1-2-3-4-go-records-to-partner-up/\" target=\"_blank\" rel=\"noopener\">Oakland record store 1-2-3-4 Go! open a satellite shop\u003c/a> in the front of the video store’s space. \u003c/p>\n\u003cp>Though the record shop brought in more foot traffic and the closing of \u003ca href=\"http://ww2.kqed.org/news/2015/12/09/alamo-drafthouse-makes-deal-to-preserve-titles-from-le-video-collection\" target=\"_blank\" rel=\"noopener\">Le Video back in November\u003c/a> helped Lost Weekend pick up more customers, Hawkins said they have yet to see the increase in revenue needed to justify renting their current location. \u003c/p>\n\u003cfigure id=\"attachment_10479831\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/LostWeekend-800x450.jpg\" alt=\"Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland's 1-2-3-4 Go! Records. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-10479831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-320x180.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland’s 1-2-3-4 Go! Records. \u003ccite>(Photo: Lost Weekend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Nothing is definite yet, but we are probably going to be vacating this space some time in the spring,” Hawkins said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for the comedy shows that are hosted in the video store’s basement, which include the weekly showcase Cynic Cave, Hawkins says he hopes to have them still occur wherever Lost Weekend ends up. Nato Green, one of the comedians who organizes Cynic Cave, said they plan to have a big blowout show on March 5. \u003c/p>\n\u003cp>For 1-2-3-4 Go!, store owner Steve Stevenson said Friday that he’s working out a deal to move the satellite shop into a retail space next door, replacing the clothing shop Dema, which is \u003ca href=\"http://bernalwood.com/2016/01/08/beloved-bernal-owned-dema-clothing-store-closing-this-month/\" target=\"_blank\" rel=\"noopener\">closing at the end of this month\u003c/a>. Stevenson plans to open the new store by March 5.\u003c/p>\n\u003cp>“It’s just sort of my luck,” said Stevenson, who opened the original 1-2-3-4 Go! in a small retail space in Oakland back in 2008. “Right when I needed a new space, one opened up.”\u003c/p>\n\u003cp>Stevenson’s business has been growing since his store first opened, thanks to the “vinyl craze” that has spread globally. Not only did he have to move into a larger space in Oakland just after a few years, the first year of the San Francisco shop’s existence was also successful, he says. The new San Francisco store will still be “well-curated,” but will also include expanded CD and cassette sections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when more details are learned.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Storytelling is an essential aspect of human consciousness. Without it we’d find ourselves trapped in the infinite daze of animal survival. With each new story, we evolve, often imperfectly, but sometimes with great hope.\u003c/p>\n\u003cp>This feeling of evolution is at the heart of \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">Bringing the Noise for Dr. Martin Luther King Jr.\u003c/a>, \u003c/em>a long-running annual event created in honor of King’s birthday by the Bay Area-based, national youth slam poetry organization Youth Speaks. This year’s program takes place on Monday, Jan. 18 at the Norse Auditorium in San Francisco. And though there will be the outward trappings of a party—music, dancing, and a real desire to applaud King’s work and legacy—the young people of Youth Speaks are interested in something more than homage. They are after nothing less than an accounting of the tense, fractured society around them and us. It’s the type of direct political heat you rarely feel on our professional stages, or in the dry lines of contemporary poetry.\u003c/p>\n\u003cp>If you go to \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">Bringing the Noise for Dr. Martin Luther King Jr. \u003c/a>—\u003c/em> and you should — you won’t be lectured at. The spoken word format has synthesized a strange but potent amalgamation of theater, poetry, and essay. It’s a demanding art form. When a master of it takes the stage, such as the New York rapper and poet Saul Williams, there’s a demonic energy, both in what the artist says and in his performance of it. You feel the same spirit in the Youth Speaks kids.\u003c/p>\n\u003cp>They aren’t being taught to be good and obedient performers, but rather to take on the complex role of the storyteller, which requires skill, commitment, and daring. This is citizenship as art, and we need citizens capable of unleashing social and political ideals that many of us would rather just keep quiet. So the evening is aptly named because these young people are taking the noise that surrounds us everyday, catching it, and shaping it into stories.\u003c/p>\n\u003cp>While attending a dress rehearsal for Monday’s event, I was continually taken aback by the philosophical and emotional depth of the program. The focus of the evening comes from a 1957 \u003cem>Ebony\u003c/em> magazine interview with King in which he makes a political connection between love and power: “I am convinced that love is the most durable power in the world. It is not an expression of impractical idealism, but of practical realism.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We often associate directness with a lack of subtlety, but here directness leads to a nerve jangling clarity, as King might approve. Tammy Vaitai, an alum of Youth Speaks’ “\u003ca href=\"http://youthspeaks.org/bravenewvoices/\" target=\"_blank\" rel=\"noopener\">Brave New Voices\u003c/a>” program, will perform a piece about Kenneth Young, a boy forced into committing armed robberies by his mother’s drug dealer. At the age of 14, Young was sentenced to three consecutive life terms. Vaitai’s piece foregrounds Young’s crimes and catches how we might see him as irredeemably criminal. Then, taking on Young’s voice, she shows how that’s impossible; that Young couldn’t possibly be the danger the justice system claims him to be.\u003c/p>\n\u003cfigure id=\"attachment_11240791\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11240791 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-800x420.jpg\" alt=\"YouthSpeaksTammy Vaitai_16X9\" width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-768x403.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tammy Vaitai performs at last year’s ‘Bringing the Noise for Dr. Martin Luther King Jr.’ (Photo: Courtesy of Youth Speaks.)\u003c/figcaption>\u003c/figure>\n\u003cp>Vaitai’s writing is sharp and shifty. It takes on King’s belief that love is “a durable power” and shows what happens when there is no love present. She forces us to ask what’s worse: a 14-year-old committing a series of armed robberies to protect his mother, or a society that finds Young’s unwitting criminality so wounding that it will take three of his lives to gain its forgiveness. Youth Speaks sets free what is so clear in Vaitai’s piece—the ability to look, then look again, and then tell a story.\u003c/p>\n\u003cp>Throughout 20th century modernism there was a rejection of the simple story. Art became fractured, opaque, a puzzle to be deciphered. To understand it you had to develop a monkish predilection for arcane modes of interpretation. Only those with special educations truly understood what was happening and it was somehow a betrayal to speak and write in clear, concise language. What a loss to art and sense that was.\u003c/p>\n\u003cp>Yet here we are in the beginning of the 21st century and the 19th year Youth Speaks has produced \u003cem>Bringing the Noise for Dr. Martin Luther King\u003c/em> \u003cem>Jr\u003c/em>. You will see the organization’s good work all over the stage, such as emcee and Brave New Voices alum Trey Amos’ trenchant commentary to a vibrant group of young people attempting to come to grips with King’s legacy. There will be lots of stories, sharp insights, and sizzling anger. There will also be the deep hope that if love and power can be brought together, we might one day hear a whole new set of stories.\u003c/p>\n\u003cp>This likely evolution will doubtless stem from one of the most inspiring and shocking aspects of the Youth Speaks philosophy — namely, how much the organization believes in and demands of the young. There’s a tendency in liberal thought to believe that real thinking is a product of age and advanced degrees, and especially from prestigious institutions. It’s as if we have summarily decided that the young, and especially youth from disadvantaged backgrounds, have no capacity for complex political thought.\u003c/p>\n\u003cp>Instead, we imagine them as the objects of political concern—what is to be done with them? What’s wrong with them? And why aren’t they acquiescing to our needs? Youth Speaks short circuits that narrative and urges its students to be alert to, engage with, and judge what they see around them. Even when what the students say is harsh and disparaging, it’s clear that the program never flinches. This is what thinking is. This is the beginning of a vital politics.\u003c/p>\n\u003cfigure id=\"attachment_11240895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11240895 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-800x535.jpg\" alt=\"Poster Art: Courtesy Youth Speaks.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster Art: Courtesy Youth Speaks.\u003c/figcaption>\u003c/figure>\n\u003cp>Youth Speaks’ \u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bringing the Noise for Dr. Martin Luther King\u003c/em> \u003c/a>plays for one night at the Nourse Theater, 275 Hayes on Monday, Jan. 18, 2016 at 7 pm.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Storytelling is an essential aspect of human consciousness. Without it we’d find ourselves trapped in the infinite daze of animal survival. With each new story, we evolve, often imperfectly, but sometimes with great hope.\u003c/p>\n\u003cp>This feeling of evolution is at the heart of \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">Bringing the Noise for Dr. Martin Luther King Jr.\u003c/a>, \u003c/em>a long-running annual event created in honor of King’s birthday by the Bay Area-based, national youth slam poetry organization Youth Speaks. This year’s program takes place on Monday, Jan. 18 at the Norse Auditorium in San Francisco. And though there will be the outward trappings of a party—music, dancing, and a real desire to applaud King’s work and legacy—the young people of Youth Speaks are interested in something more than homage. They are after nothing less than an accounting of the tense, fractured society around them and us. It’s the type of direct political heat you rarely feel on our professional stages, or in the dry lines of contemporary poetry.\u003c/p>\n\u003cp>If you go to \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">Bringing the Noise for Dr. Martin Luther King Jr. \u003c/a>—\u003c/em> and you should — you won’t be lectured at. The spoken word format has synthesized a strange but potent amalgamation of theater, poetry, and essay. It’s a demanding art form. When a master of it takes the stage, such as the New York rapper and poet Saul Williams, there’s a demonic energy, both in what the artist says and in his performance of it. You feel the same spirit in the Youth Speaks kids.\u003c/p>\n\u003cp>They aren’t being taught to be good and obedient performers, but rather to take on the complex role of the storyteller, which requires skill, commitment, and daring. This is citizenship as art, and we need citizens capable of unleashing social and political ideals that many of us would rather just keep quiet. So the evening is aptly named because these young people are taking the noise that surrounds us everyday, catching it, and shaping it into stories.\u003c/p>\n\u003cp>While attending a dress rehearsal for Monday’s event, I was continually taken aback by the philosophical and emotional depth of the program. The focus of the evening comes from a 1957 \u003cem>Ebony\u003c/em> magazine interview with King in which he makes a political connection between love and power: “I am convinced that love is the most durable power in the world. It is not an expression of impractical idealism, but of practical realism.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We often associate directness with a lack of subtlety, but here directness leads to a nerve jangling clarity, as King might approve. Tammy Vaitai, an alum of Youth Speaks’ “\u003ca href=\"http://youthspeaks.org/bravenewvoices/\" target=\"_blank\" rel=\"noopener\">Brave New Voices\u003c/a>” program, will perform a piece about Kenneth Young, a boy forced into committing armed robberies by his mother’s drug dealer. At the age of 14, Young was sentenced to three consecutive life terms. Vaitai’s piece foregrounds Young’s crimes and catches how we might see him as irredeemably criminal. Then, taking on Young’s voice, she shows how that’s impossible; that Young couldn’t possibly be the danger the justice system claims him to be.\u003c/p>\n\u003cfigure id=\"attachment_11240791\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11240791 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-800x420.jpg\" alt=\"YouthSpeaksTammy Vaitai_16X9\" width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-768x403.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tammy Vaitai performs at last year’s ‘Bringing the Noise for Dr. Martin Luther King Jr.’ (Photo: Courtesy of Youth Speaks.)\u003c/figcaption>\u003c/figure>\n\u003cp>Vaitai’s writing is sharp and shifty. It takes on King’s belief that love is “a durable power” and shows what happens when there is no love present. She forces us to ask what’s worse: a 14-year-old committing a series of armed robberies to protect his mother, or a society that finds Young’s unwitting criminality so wounding that it will take three of his lives to gain its forgiveness. Youth Speaks sets free what is so clear in Vaitai’s piece—the ability to look, then look again, and then tell a story.\u003c/p>\n\u003cp>Throughout 20th century modernism there was a rejection of the simple story. Art became fractured, opaque, a puzzle to be deciphered. To understand it you had to develop a monkish predilection for arcane modes of interpretation. Only those with special educations truly understood what was happening and it was somehow a betrayal to speak and write in clear, concise language. What a loss to art and sense that was.\u003c/p>\n\u003cp>Yet here we are in the beginning of the 21st century and the 19th year Youth Speaks has produced \u003cem>Bringing the Noise for Dr. Martin Luther King\u003c/em> \u003cem>Jr\u003c/em>. You will see the organization’s good work all over the stage, such as emcee and Brave New Voices alum Trey Amos’ trenchant commentary to a vibrant group of young people attempting to come to grips with King’s legacy. There will be lots of stories, sharp insights, and sizzling anger. There will also be the deep hope that if love and power can be brought together, we might one day hear a whole new set of stories.\u003c/p>\n\u003cp>This likely evolution will doubtless stem from one of the most inspiring and shocking aspects of the Youth Speaks philosophy — namely, how much the organization believes in and demands of the young. There’s a tendency in liberal thought to believe that real thinking is a product of age and advanced degrees, and especially from prestigious institutions. It’s as if we have summarily decided that the young, and especially youth from disadvantaged backgrounds, have no capacity for complex political thought.\u003c/p>\n\u003cp>Instead, we imagine them as the objects of political concern—what is to be done with them? What’s wrong with them? And why aren’t they acquiescing to our needs? Youth Speaks short circuits that narrative and urges its students to be alert to, engage with, and judge what they see around them. Even when what the students say is harsh and disparaging, it’s clear that the program never flinches. This is what thinking is. This is the beginning of a vital politics.\u003c/p>\n\u003cfigure id=\"attachment_11240895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11240895 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-800x535.jpg\" alt=\"Poster Art: Courtesy Youth Speaks.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster Art: Courtesy Youth Speaks.\u003c/figcaption>\u003c/figure>\n\u003cp>Youth Speaks’ \u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bringing the Noise for Dr. Martin Luther King\u003c/em> \u003c/a>plays for one night at the Nourse Theater, 275 Hayes on Monday, Jan. 18, 2016 at 7 pm.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/01/TDL01152016.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=VzXYvyFqM4Y\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> Ignacio Piñeiro founded this band in 1927 and it’s continued to thrive since then, despite frequent changes in personnel over the years. Piñeiro himself was a great rumbero and helped develop “son Cubano” — a music genre that marries Spanish traditional songs with African rhythms — before he died in 1969. These days Eugenio “Raspa” Rodríguez and Francisco “El Matador” Oropesa lead the band, and they played a marvelously tight set here in San Francisco a few years ago. Expect the same when they play Sunday night at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/septeto-nacional/\" target=\"_blank\" rel=\"noopener\">Brava Theater\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246854\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg\" alt=\"Symphony Silicon Valley presents 'Raiders of the Lost Ark'\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Symphony Silicon Valley presents ‘Raiders of the Lost Ark’ \u003ccite>(Photo: 21st Century Symphony Orchestra.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15-17: \u003c/strong>Hard to believe the first Indiana Jones movie, \u003ca href=\"http://www.imdb.com/title/tt0082971/\" target=\"_blank\" rel=\"noopener\">\u003cem>Raiders of the Lost Ark\u003c/em>, \u003c/a>is now 35 years old. The film, birthed from a collaboration between George Lucas and Steven Spielberg, is an update on the movie serials of yore and is still the best of the bunch. And there’s a fresh (if pricey) way to see the film this weekend as \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> (SVV) plays the \u003ca href=\"https://en.wikipedia.org/wiki/John_Williams\" target=\"_blank\" rel=\"noopener\">John Williams\u003c/a> film score live to accompany the film. This is a major trend for orchestras, trying to lure new audiences in the door. SSV did it last spring with \u003cem>the Lord of the Rings\u003c/em>, and the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar.aspx?gclid=CLr7-ay5qsoCFcRffgodk8sEFQ#kw=Films+and+Multimedia\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony has been digging into the great scores Bernard Herrmann \u003c/a>wrote for a number of Hitchcock films. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=208#showis188\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246731\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dreamstate.png\" alt=\"Dreamstate at the Bill Graham Civic Center\" width=\"599\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate.png 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate-400x266.png 400w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Dreamstate at the Bill Graham Civic Center\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 16-17: \u003c/strong>Trance music is an amazingly popular form of electronic dance music born in Germany (my daughter loves it), with concerts in Los Angeles selling out within hours. Think DJ’s on the stage, dialing up 125 beats per minute that build, and build, and build, and then release. \u003ca href=\"http://www.dreamstateusa.com/\" target=\"_blank\" rel=\"noopener\">Dreamstate fills the Bill Graham Auditorium Saturday and Sunday\u003c/a> with new and older acts including Aly and Fila, Cosmic Gate, Paul Oakenfold,, Paul Van Dyk and more. Don’t forget to hydrate.\u003c/p>\n\u003cfigure id=\"attachment_11246483\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg\" alt=\"Feathers Of Fire\" width=\"500\" height=\"238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire-400x190.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Feathers Of Fire \u003ccite>(Photo Credit: Finecutstudio.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16-18:\u003c/strong> \u003cem>Feathers of Fire\u003c/em> is a tale from the ancient Persian epic Shahname, the Book of Kings. And it’s also the newest work by San Francisco \u003ca href=\"http://www.shadowlight.org/slp/index.cfm\" target=\"_blank\" rel=\"noopener\">shadow puppet master Larry Reed \u003c/a>in a production conceived and directed by Iranian American filmmaker \u003ca href=\"http://www.kingorama.com/\" target=\"_blank\" rel=\"noopener\">Hamid Rahmanian\u003c/a>. Reed called this production the IMAX of shadow theater, because the team is projecting videos, and the shadows of puppets and live actors onto a 30-by-15 foot screen. Expect magic, if you can get a ticket: As of Thursday, all but one show was sold out. \u003ca href=\"https://www.facebook.com/events/526630310836844/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a> and \u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z3aklEgwjF8\u003c/p>\n\u003cp>\u003cstrong>Jan 18 & 19:\u003c/strong> Ty Segall may be the world’s best and prolific garage rocker. He’s contributed to 20 albums in the last few years, and the majority of his music is nasty, loud, fuzzy and strange, yet full of pop hooks. And even though he left San Francisco for Los Angeles a few years ago, we still love him. He’s been promoting his new album \u003cem>Emotional Mugger\u003c/em> with a series of bizarre videos, including one with him wearing what looks like a Jabba the Hut baby mask. He’s at the \u003ca href=\"http://thefillmore.com/event/ty-segall-the-muggers/\" target=\"_blank\" rel=\"noopener\">Fillmore for two nights.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246737\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246737\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg\" alt=\"Kelley Stoltz\" width=\"960\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz\u003c/figcaption>\u003c/figure>\n\u003cp>And for a sunnier indie sound, try San Francisco rocker \u003ca href=\"http://www.kelleystoltz.com/\" target=\"_blank\" rel=\"noopener\">Kelley Stoltz\u003c/a> at the Chapel. Stoltz, like Segall, has a new album out, \u003cem>In Triangle Time\u003c/em>. The show is a \u003cstrong>Cheap Thrill\u003c/strong> at just $15. \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>A couple of SHOUTouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> I’m a fan of new music advocate and pianist Sarah Cahill. She’s presenting an eclectic program that includes a world premiere of a new work from the Bay Area’s Danny Clay at the \u003ca href=\"http://nvcm.org/season/season23/sarah-cahill/\" target=\"_blank\" rel=\"noopener\">Noe Valley Chamber Music series Sunday afternoon.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 14-Feb. 10:\u003c/strong> David Wiegand likes \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">SOMArts new show \u003c/a>\u003cem>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>,\u003c/em> curated by \u003ca href=\"http://blacksaltcollective.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>, which champions black, brown, and indigenous visions. It’s another \u003cstrong>Cheap Thrill,\u003c/strong> as admission to SOMArts is always free. \u003ci>(We also suggest reading \u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\" target=\"_blank\" rel=\"noopener\">Sarah Hotchkiss’s\u003c/a> review of \u003ca href=\"http://ww2.kqed.org/arts/2016/01/14/black-salt-collective-agitates-the-archive-with-visions-at-somarts/\" target=\"_blank\" rel=\"noopener\">‘Visions Into Archives’ here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\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/VzXYvyFqM4Y'\n title='//www.youtube.com/embed/VzXYvyFqM4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 17:\u003c/strong> Ignacio Piñeiro founded this band in 1927 and it’s continued to thrive since then, despite frequent changes in personnel over the years. Piñeiro himself was a great rumbero and helped develop “son Cubano” — a music genre that marries Spanish traditional songs with African rhythms — before he died in 1969. These days Eugenio “Raspa” Rodríguez and Francisco “El Matador” Oropesa lead the band, and they played a marvelously tight set here in San Francisco a few years ago. Expect the same when they play Sunday night at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/septeto-nacional/\" target=\"_blank\" rel=\"noopener\">Brava Theater\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246854\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg\" alt=\"Symphony Silicon Valley presents 'Raiders of the Lost Ark'\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Symphony Silicon Valley presents ‘Raiders of the Lost Ark’ \u003ccite>(Photo: 21st Century Symphony Orchestra.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15-17: \u003c/strong>Hard to believe the first Indiana Jones movie, \u003ca href=\"http://www.imdb.com/title/tt0082971/\" target=\"_blank\" rel=\"noopener\">\u003cem>Raiders of the Lost Ark\u003c/em>, \u003c/a>is now 35 years old. The film, birthed from a collaboration between George Lucas and Steven Spielberg, is an update on the movie serials of yore and is still the best of the bunch. And there’s a fresh (if pricey) way to see the film this weekend as \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> (SVV) plays the \u003ca href=\"https://en.wikipedia.org/wiki/John_Williams\" target=\"_blank\" rel=\"noopener\">John Williams\u003c/a> film score live to accompany the film. This is a major trend for orchestras, trying to lure new audiences in the door. SSV did it last spring with \u003cem>the Lord of the Rings\u003c/em>, and the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar.aspx?gclid=CLr7-ay5qsoCFcRffgodk8sEFQ#kw=Films+and+Multimedia\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony has been digging into the great scores Bernard Herrmann \u003c/a>wrote for a number of Hitchcock films. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=208#showis188\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246731\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dreamstate.png\" alt=\"Dreamstate at the Bill Graham Civic Center\" width=\"599\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate.png 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate-400x266.png 400w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Dreamstate at the Bill Graham Civic Center\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 16-17: \u003c/strong>Trance music is an amazingly popular form of electronic dance music born in Germany (my daughter loves it), with concerts in Los Angeles selling out within hours. Think DJ’s on the stage, dialing up 125 beats per minute that build, and build, and build, and then release. \u003ca href=\"http://www.dreamstateusa.com/\" target=\"_blank\" rel=\"noopener\">Dreamstate fills the Bill Graham Auditorium Saturday and Sunday\u003c/a> with new and older acts including Aly and Fila, Cosmic Gate, Paul Oakenfold,, Paul Van Dyk and more. Don’t forget to hydrate.\u003c/p>\n\u003cfigure id=\"attachment_11246483\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg\" alt=\"Feathers Of Fire\" width=\"500\" height=\"238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire-400x190.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Feathers Of Fire \u003ccite>(Photo Credit: Finecutstudio.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16-18:\u003c/strong> \u003cem>Feathers of Fire\u003c/em> is a tale from the ancient Persian epic Shahname, the Book of Kings. And it’s also the newest work by San Francisco \u003ca href=\"http://www.shadowlight.org/slp/index.cfm\" target=\"_blank\" rel=\"noopener\">shadow puppet master Larry Reed \u003c/a>in a production conceived and directed by Iranian American filmmaker \u003ca href=\"http://www.kingorama.com/\" target=\"_blank\" rel=\"noopener\">Hamid Rahmanian\u003c/a>. Reed called this production the IMAX of shadow theater, because the team is projecting videos, and the shadows of puppets and live actors onto a 30-by-15 foot screen. Expect magic, if you can get a ticket: As of Thursday, all but one show was sold out. \u003ca href=\"https://www.facebook.com/events/526630310836844/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a> and \u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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/z3aklEgwjF8'\n title='//www.youtube.com/embed/z3aklEgwjF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 18 & 19:\u003c/strong> Ty Segall may be the world’s best and prolific garage rocker. He’s contributed to 20 albums in the last few years, and the majority of his music is nasty, loud, fuzzy and strange, yet full of pop hooks. And even though he left San Francisco for Los Angeles a few years ago, we still love him. He’s been promoting his new album \u003cem>Emotional Mugger\u003c/em> with a series of bizarre videos, including one with him wearing what looks like a Jabba the Hut baby mask. He’s at the \u003ca href=\"http://thefillmore.com/event/ty-segall-the-muggers/\" target=\"_blank\" rel=\"noopener\">Fillmore for two nights.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246737\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246737\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg\" alt=\"Kelley Stoltz\" width=\"960\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz\u003c/figcaption>\u003c/figure>\n\u003cp>And for a sunnier indie sound, try San Francisco rocker \u003ca href=\"http://www.kelleystoltz.com/\" target=\"_blank\" rel=\"noopener\">Kelley Stoltz\u003c/a> at the Chapel. Stoltz, like Segall, has a new album out, \u003cem>In Triangle Time\u003c/em>. The show is a \u003cstrong>Cheap Thrill\u003c/strong> at just $15. \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>A couple of SHOUTouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> I’m a fan of new music advocate and pianist Sarah Cahill. She’s presenting an eclectic program that includes a world premiere of a new work from the Bay Area’s Danny Clay at the \u003ca href=\"http://nvcm.org/season/season23/sarah-cahill/\" target=\"_blank\" rel=\"noopener\">Noe Valley Chamber Music series Sunday afternoon.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 14-Feb. 10:\u003c/strong> David Wiegand likes \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">SOMArts new show \u003c/a>\u003cem>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>,\u003c/em> curated by \u003ca href=\"http://blacksaltcollective.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>, which champions black, brown, and indigenous visions. It’s another \u003cstrong>Cheap Thrill,\u003c/strong> as admission to SOMArts is always free. \u003ci>(We also suggest reading \u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\" target=\"_blank\" rel=\"noopener\">Sarah Hotchkiss’s\u003c/a> review of \u003ca href=\"http://ww2.kqed.org/arts/2016/01/14/black-salt-collective-agitates-the-archive-with-visions-at-somarts/\" target=\"_blank\" rel=\"noopener\">‘Visions Into Archives’ here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rasputin Music, the record store founded in 1971 with nearly a dozen Bay Area locations, has closed its five-story store at 69 Powell St., \u003ca href=\"http://www.sfgate.com/news/article/Rasputin-Music-on-Powell-Street-in-S-F-closes-6759220.php#photo-6848942\" target=\"_blank\" rel=\"noopener\">the \u003cem>Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>News of the closure broke on Reddit Wednesday night, where an employee posted the news. According to the \u003cem>Chronicle\u003c/em>’s Alyssa Pereira, the store’s phone had already forwarded to a voicemail message announcing the closure:\u003c/p>\n\u003cblockquote>\u003cp>“We regret to inform you that the Rasputin Powell location is no longer open for business,” it says. “We appreciate your patronage and we still have our store on Haight Street at 1672 that will continue to remain open. Thank you for shopping at Rasputin Powell.”\u003c/p>\u003c/blockquote>\n\u003cp>The Powell Street location was notable for its staff position of elevator operator, as no stairs reach the building’s upper floors. Elevator operators often listened to boomboxes or iPods to pass the time between shuttling customers to the upstairs levels of the store. In a \u003ca href=\"http://www.sfgate.com/business/article/Ups-And-Downs-The-life-and-times-of-a-Rasputin-2697179.php\" target=\"_blank\" rel=\"noopener\">2004 story about the store’s elevator by Amy Wu\u003c/a>, then-store manager Jennie Romer was quoted about the job:\u003c/p>\n\u003cblockquote>\u003cp>“We’ve had people do their homework in there,” Romer says. “People will knit or draw. Someone covered the elevator with Post-it notes. We get comments from people who say, ‘It smells like pizza in here,’ or people say, ‘Is this really your job?'” There are always some people who apply just for that gig. Romer once even considered creating an elevator outfit just like the ones in New York’s ritziest hotels to make the position seem more official. \u003c/p>\u003c/blockquote>\n\u003cp>Rasputin was founded in 1971 by Ken Sarachan, whose real estate shenanigans on Telegraph Ave. in Berkeley and longtime vendetta against rivals Amoeba Music — founded in 1990 by former Rasputin employees — have soured many locals and record buyers. (The subject was most recently \u003ca href=\"http://www.eastbayexpress.com/oakland/twenty-five-year-record-store-feud-spins-again-rasputins-rubble-on-telegraph-and-haste/Content?oid=4235876\" target=\"_blank\" rel=\"noopener\">revisited by Sam Lefebvre in the \u003cem>East Bay Express\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Still others have posited another theory: that in the past several years Urban Outfitters, with a branch located directly across Powell Street from the former Rasputin, has begun to carve out more space for vinyl records in its floor plan. Recently, Urban Outfitters \u003ca href=\"http://www.forbes.com/sites/hughmcintyre/2014/09/25/urban-outfitters-is-now-the-number-one-seller-of-vinyl-in-the-world/#2715e4857a0b7232bfc162e4\" target=\"_blank\" rel=\"noopener\">boasted the highest vinyl sales\u003c/a> of any brick-and-mortar chain in the country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/40tgrt/rasputin_on_powell_street_has_permanently_closed/#cyxcoi4\" target=\"_blank\" rel=\"noopener\">the former employee\u003c/a>, several staff members will be reassigned to other Rasputin locations.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rasputin Music, the record store founded in 1971 with nearly a dozen Bay Area locations, has closed its five-story store at 69 Powell St., \u003ca href=\"http://www.sfgate.com/news/article/Rasputin-Music-on-Powell-Street-in-S-F-closes-6759220.php#photo-6848942\" target=\"_blank\" rel=\"noopener\">the \u003cem>Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>News of the closure broke on Reddit Wednesday night, where an employee posted the news. According to the \u003cem>Chronicle\u003c/em>’s Alyssa Pereira, the store’s phone had already forwarded to a voicemail message announcing the closure:\u003c/p>\n\u003cblockquote>\u003cp>“We regret to inform you that the Rasputin Powell location is no longer open for business,” it says. “We appreciate your patronage and we still have our store on Haight Street at 1672 that will continue to remain open. Thank you for shopping at Rasputin Powell.”\u003c/p>\u003c/blockquote>\n\u003cp>The Powell Street location was notable for its staff position of elevator operator, as no stairs reach the building’s upper floors. Elevator operators often listened to boomboxes or iPods to pass the time between shuttling customers to the upstairs levels of the store. In a \u003ca href=\"http://www.sfgate.com/business/article/Ups-And-Downs-The-life-and-times-of-a-Rasputin-2697179.php\" target=\"_blank\" rel=\"noopener\">2004 story about the store’s elevator by Amy Wu\u003c/a>, then-store manager Jennie Romer was quoted about the job:\u003c/p>\n\u003cblockquote>\u003cp>“We’ve had people do their homework in there,” Romer says. “People will knit or draw. Someone covered the elevator with Post-it notes. We get comments from people who say, ‘It smells like pizza in here,’ or people say, ‘Is this really your job?'” There are always some people who apply just for that gig. Romer once even considered creating an elevator outfit just like the ones in New York’s ritziest hotels to make the position seem more official. \u003c/p>\u003c/blockquote>\n\u003cp>Rasputin was founded in 1971 by Ken Sarachan, whose real estate shenanigans on Telegraph Ave. in Berkeley and longtime vendetta against rivals Amoeba Music — founded in 1990 by former Rasputin employees — have soured many locals and record buyers. (The subject was most recently \u003ca href=\"http://www.eastbayexpress.com/oakland/twenty-five-year-record-store-feud-spins-again-rasputins-rubble-on-telegraph-and-haste/Content?oid=4235876\" target=\"_blank\" rel=\"noopener\">revisited by Sam Lefebvre in the \u003cem>East Bay Express\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Still others have posited another theory: that in the past several years Urban Outfitters, with a branch located directly across Powell Street from the former Rasputin, has begun to carve out more space for vinyl records in its floor plan. Recently, Urban Outfitters \u003ca href=\"http://www.forbes.com/sites/hughmcintyre/2014/09/25/urban-outfitters-is-now-the-number-one-seller-of-vinyl-in-the-world/#2715e4857a0b7232bfc162e4\" target=\"_blank\" rel=\"noopener\">boasted the highest vinyl sales\u003c/a> of any brick-and-mortar chain in the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/40tgrt/rasputin_on_powell_street_has_permanently_closed/#cyxcoi4\" target=\"_blank\" rel=\"noopener\">the former employee\u003c/a>, several staff members will be reassigned to other Rasputin locations.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artist Uses 3D Tech to Recreate Past Destroyed by ISIS",
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"content": "\u003cp>At software company \u003ca href=\"http://ww2.kqed.org/futureofyou/2015/06/05/at-autodesk-makers-explore-how-3-d-printing-is-transforming-medicine/\" target=\"_blank\" rel=\"noopener\">Autodesk\u003c/a> at San Francisco’s Pier 9, the 3D printers are humming. Here, people print all kinds of things, like biofabrics, prosthetic limbs, toys, jewelry and gadgets.\u003c/p>\n\u003cfigure id=\"attachment_11228541\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg\" alt=\"Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-960x720.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \u003ccite>(Photo: Adizah Eghan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But resident artist \u003ca href=\"http://www.morehshin.com/\" target=\"_blank\" rel=\"noopener\">Morehshin Allahyari\u003c/a> is using the technology to re-create a stone statue that’s over 2,000 years old.\u003c/p>\n\u003cp>It’s a chilly December afternoon, but it’s warm inside the 3D printing room. Allahyari stands at the waist-high printer in a black dress, purple tights and combat boots. Her face is framed by her short hair.\u003c/p>\n\u003cp>The printer’s UV light goes back and forth. Each movement delivers a single layer of liquid resin that quickly hardens from the UV rays. A translucent statue begins to take shape.\u003c/p>\n\u003cp>The statue is a miniature model of a life-size female figure that stood outside of the Mosul Museum in Iraq. This was before ISIS destroyed the statue along with other Hatrene sculptures and Assyrian artifacts using sledgehammers and power tools last February.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SS9yLgJ4sqo\u003c/p>\n\u003cp>In her project \u003cem>Material Speculation,\u003c/em> Allahyari is 3D modeling and printing some of those statues and artifacts that \u003ca href=\"http://news.nationalgeographic.com/2015/09/150901-isis-destruction-looting-ancient-sites-iraq-syria-archaeology/\" target=\"_blank\" rel=\"noopener\">ISIS destroyed.\u003c/a>\u003c/p>\n\u003cp>Over the past couple of years ISIS has looted and damaged over \u003ca href=\"http://www.aljazeera.com/news/2015/03/full-story-isil-takeover-mosul-museum-150309053022129.html\" target=\"_blank\" rel=\"noopener\">42 historical and archaeological sites\u003c/a>, some dating back as early as 7th century BCE. They’ve also burned books in Mosul libraries and destroyed artifacts at the archaeological site at Nimrud. The terrorist group claims these statues and figures promote idolatry. Not to mention, they are also seeking attention from the pieces they destroy and profit from the goods that they loot from these sites.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/241991695″ 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>“[ISIS is] trying to remove this rich history in order to start afresh and also to remove any kind of interethnic interactions,” Pamela Karimi, professor of Middle Eastern art at the University of Massachusetts, Dartmouth, says.\u003c/p>\n\u003cfigure id=\"attachment_11228542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228542\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg\" alt=\"The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu-.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says her work is about re-establishing that connection to parts of the Middle East that have been separated by conflict.\u003c/p>\n\u003cp>“I’m originally from Iran. these artifacts are from Iraq. But these are all older, from 2,500 – 3,000 years ago, and this is when history was shared between all these countries,” says Allahyari.\u003c/p>\n\u003cp>Karimi says terrorists have destroyed historical artifacts in many parts of the world. But the destruction of sites in the Middle East is particularly significant.\u003c/p>\n\u003cp>“So the Middle East is where the world’s first cities emerged and the world’s first governmental entities were first introduced,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11228424\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228424\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg\" alt=\"King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says there was little information to draw from when she first set out to do her project. Wanting to address this issue for future generations, she turns her own works in tiny time capsules. She’s inserted a thumb drive loaded with PDF files, maps and other research relating to the destroyed artifacts inside each one.\u003c/p>\n\u003cp>“This is basically the way to go in the future: to not only create a nostalgic art work that reminds us what’s happening, but something that provides solutions for how you preserve the memory for future generations,” Karimi, a supporter of Allahyari, says.\u003c/p>\n\u003cp>\u003cstrong>How It’s Done\u003c/strong>\u003c/p>\n\u003cp>To make these to-scale statues Allahyari had to find images online and use them as source material to 3D model the artifacts. For most 3D models, people take hundreds of pictures of one item. Allahyari doesn’t have that luxury because the items she is modeling no longer exist, so she uses Flickr.\u003c/p>\n\u003cp>After creating a 3D model, she runs it through different software programs to fix meshes and errors. Then she does a test print to make sure everything looks good before printing the final model.\u003c/p>\n\u003cfigure id=\"attachment_11228654\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11228654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg\" alt='A model of a female figure that stood outside of the Mosul Museum in Iraq. \"You can think about them as a technology and a way to resist the removal of history,\" says Allahyari.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A model of a female figure that stood outside of the Mosul Museum in Iraq. “You can think about them as a technology and a way to resist the removal of history,” says Allahyari. \u003ccite>(Photo: Adizah Eghan/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most recent additions to \u003cem>Material Speculation\u003c/em> delve deep into ISIS’ social and cultural destruction of female forms in life and physically as sculptures.\u003c/p>\n\u003cp>“There’s this whole thing about violence against women which is part of what’s happening with ISIS,” Allahyari says. “But it’s actually not talked about as much as other things.”\u003c/p>\n\u003cp>Allahyari hopes to see her work displayed at the Mosul Museum in someday. The building is still standing but Baghdad, where it resides, is \u003ca href=\"http://www.kqed.org/a/forum/R201512290900\" target=\"_blank\" rel=\"noopener\">ISIS territory\u003c/a>, so no one can go in or out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Allahyari’s pieces will be featured in the show Archive Fever: Future Imaginings of Things Past at \u003ca href=\"http://www.b4bel4b.com/\" target=\"_blank\" rel=\"noopener\">B4BEL4B\u003c/a> art gallery in Oakland starting January 16th until the end of February.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At software company \u003ca href=\"http://ww2.kqed.org/futureofyou/2015/06/05/at-autodesk-makers-explore-how-3-d-printing-is-transforming-medicine/\" target=\"_blank\" rel=\"noopener\">Autodesk\u003c/a> at San Francisco’s Pier 9, the 3D printers are humming. Here, people print all kinds of things, like biofabrics, prosthetic limbs, toys, jewelry and gadgets.\u003c/p>\n\u003cfigure id=\"attachment_11228541\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg\" alt=\"Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-960x720.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \u003ccite>(Photo: Adizah Eghan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But resident artist \u003ca href=\"http://www.morehshin.com/\" target=\"_blank\" rel=\"noopener\">Morehshin Allahyari\u003c/a> is using the technology to re-create a stone statue that’s over 2,000 years old.\u003c/p>\n\u003cp>It’s a chilly December afternoon, but it’s warm inside the 3D printing room. Allahyari stands at the waist-high printer in a black dress, purple tights and combat boots. Her face is framed by her short hair.\u003c/p>\n\u003cp>The printer’s UV light goes back and forth. Each movement delivers a single layer of liquid resin that quickly hardens from the UV rays. A translucent statue begins to take shape.\u003c/p>\n\u003cp>The statue is a miniature model of a life-size female figure that stood outside of the Mosul Museum in Iraq. This was before ISIS destroyed the statue along with other Hatrene sculptures and Assyrian artifacts using sledgehammers and power tools last February.\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/SS9yLgJ4sqo'\n title='//www.youtube.com/embed/SS9yLgJ4sqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In her project \u003cem>Material Speculation,\u003c/em> Allahyari is 3D modeling and printing some of those statues and artifacts that \u003ca href=\"http://news.nationalgeographic.com/2015/09/150901-isis-destruction-looting-ancient-sites-iraq-syria-archaeology/\" target=\"_blank\" rel=\"noopener\">ISIS destroyed.\u003c/a>\u003c/p>\n\u003cp>Over the past couple of years ISIS has looted and damaged over \u003ca href=\"http://www.aljazeera.com/news/2015/03/full-story-isil-takeover-mosul-museum-150309053022129.html\" target=\"_blank\" rel=\"noopener\">42 historical and archaeological sites\u003c/a>, some dating back as early as 7th century BCE. They’ve also burned books in Mosul libraries and destroyed artifacts at the archaeological site at Nimrud. The terrorist group claims these statues and figures promote idolatry. Not to mention, they are also seeking attention from the pieces they destroy and profit from the goods that they loot from these sites.\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/241991695″&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/241991695″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“[ISIS is] trying to remove this rich history in order to start afresh and also to remove any kind of interethnic interactions,” Pamela Karimi, professor of Middle Eastern art at the University of Massachusetts, Dartmouth, says.\u003c/p>\n\u003cfigure id=\"attachment_11228542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228542\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg\" alt=\"The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu-.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says her work is about re-establishing that connection to parts of the Middle East that have been separated by conflict.\u003c/p>\n\u003cp>“I’m originally from Iran. these artifacts are from Iraq. But these are all older, from 2,500 – 3,000 years ago, and this is when history was shared between all these countries,” says Allahyari.\u003c/p>\n\u003cp>Karimi says terrorists have destroyed historical artifacts in many parts of the world. But the destruction of sites in the Middle East is particularly significant.\u003c/p>\n\u003cp>“So the Middle East is where the world’s first cities emerged and the world’s first governmental entities were first introduced,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11228424\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228424\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg\" alt=\"King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says there was little information to draw from when she first set out to do her project. Wanting to address this issue for future generations, she turns her own works in tiny time capsules. She’s inserted a thumb drive loaded with PDF files, maps and other research relating to the destroyed artifacts inside each one.\u003c/p>\n\u003cp>“This is basically the way to go in the future: to not only create a nostalgic art work that reminds us what’s happening, but something that provides solutions for how you preserve the memory for future generations,” Karimi, a supporter of Allahyari, says.\u003c/p>\n\u003cp>\u003cstrong>How It’s Done\u003c/strong>\u003c/p>\n\u003cp>To make these to-scale statues Allahyari had to find images online and use them as source material to 3D model the artifacts. For most 3D models, people take hundreds of pictures of one item. Allahyari doesn’t have that luxury because the items she is modeling no longer exist, so she uses Flickr.\u003c/p>\n\u003cp>After creating a 3D model, she runs it through different software programs to fix meshes and errors. Then she does a test print to make sure everything looks good before printing the final model.\u003c/p>\n\u003cfigure id=\"attachment_11228654\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11228654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg\" alt='A model of a female figure that stood outside of the Mosul Museum in Iraq. \"You can think about them as a technology and a way to resist the removal of history,\" says Allahyari.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A model of a female figure that stood outside of the Mosul Museum in Iraq. “You can think about them as a technology and a way to resist the removal of history,” says Allahyari. \u003ccite>(Photo: Adizah Eghan/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most recent additions to \u003cem>Material Speculation\u003c/em> delve deep into ISIS’ social and cultural destruction of female forms in life and physically as sculptures.\u003c/p>\n\u003cp>“There’s this whole thing about violence against women which is part of what’s happening with ISIS,” Allahyari says. “But it’s actually not talked about as much as other things.”\u003c/p>\n\u003cp>Allahyari hopes to see her work displayed at the Mosul Museum in someday. The building is still standing but Baghdad, where it resides, is \u003ca href=\"http://www.kqed.org/a/forum/R201512290900\" target=\"_blank\" rel=\"noopener\">ISIS territory\u003c/a>, so no one can go in or out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Allahyari’s pieces will be featured in the show Archive Fever: Future Imaginings of Things Past at \u003ca href=\"http://www.b4bel4b.com/\" target=\"_blank\" rel=\"noopener\">B4BEL4B\u003c/a> art gallery in Oakland starting January 16th until the end of February.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Listen to This Terrifying New Donald Trump Song Sung By Small Children",
"title": "Listen to This Terrifying New Donald Trump Song Sung By Small Children",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Remember a few months ago, when presidential hopeful Ben Carson's campaign tapped a young Republican rapper named Aspiring Mogul to write \u003ca href=\"http://ww2.kqed.org/pop/2015/11/05/back-away-from-the-beatbox-ben-carsons-rap-and-other-cringeworthy-pitfalls-of-political-pandering/\" target=\"_blank\">a Ben Carson-themed rap\u003c/a>? (That sick flute riff! How could you forget?)\u003c/p>\n\u003cp>Never one to be outdone, it seems Donald Trump also felt he needed a snappy, \"see-I'm-hip-with-the-youngs\" kind of theme song, and this, ladies and gentlemen -- this unholy stew of innocent children, pageant outfits and propaganda -- is the result.\u003c/p>\n\u003cp>Give yourself some time for this one. Take a few deep breaths.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vPRfP_TEQ-g\u003c/p>\n\u003cp>\u003cstrong>Here's what we know:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>These are three members of \"\u003ca href=\"https://www.facebook.com/USAfreedomKids/\" target=\"_blank\">The USA Freedom Kids\u003c/a>.\"\u003c/li>\n\u003cli>They performed this ditty yesterday, Jan. 13, at a Trump rally in Pensacola, Florida.\u003c/li>\n\u003cli>They are lip-syncing (or, as my esteemed colleague \u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\" target=\"_blank\">Emmanuel\u003c/a> just put it, Ashlee Simpson-ing) the \u003cem>hell\u003c/em> out of this thing\u003c/li>\n\u003cli>\"Deal from strength or get crushed every time\" is a lyric the writer of this song, 53-year-old businessman Jeff Popick, thought would be a cool thing to hear coming out of the mouths of young children\u003c/li>\n\u003cli>One of those children is his own 8-year-old daughter\u003c/li>\n\u003cli>Judging by the crowd behind the kids, audience reactions ranged from \"this is cute\" to \"not feelin' it\" to \"I'm just going to take this opportunity to send a lot of text messages\" (good work, dude in the front left).\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"http://time.com/4181383/donald-trump-usa-freedom-kids/\" target=\"_blank\">TIME has an interview with the brains behind the catchy little tune\u003c/a>, in which one can learn that the elder Popick, a huge Trump supporter, originally wrote the song \"in honor of Lt. General George Patton, who led the U.S. Army when it liberated Italy in World War II, but tweaked it to focus on Trump.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Popick, who seems to be a sort of self-styled, freedom-loving \u003ca href=\"http://www.hollywoodreporter.com/news/backstreet-boys-lou-pearlmans-prison-672724\" target=\"_blank\">Lou Perlman\u003c/a>, held tryouts in order to put the group together about six months ago. Since that time, the USA Freedom Kids have performed the National Anthem at Miami Dolphins and Marlins games, but this song about destroying enemies of freedom has understandably garnered the girls the most attention thus far.\u003c/p>\n\u003cp>Now, it's tempting to suggest Popick deserves a visit from Child Protective Services, but you know what? This country\u003cem> is\u003c/em> about freedom. Freedom to write terrible songs. Freedom to purchase terrible outfits. Freedom to exploit your own children, who are far too young to form educated political views of their own, not to mention comprehend the ramifications of stumping for a racist billionaire \u003ca href=\"http://www.onthemedia.org/story/so-youve-got-demagogue/\" target=\"_blank\">demagogue\u003c/a>, thereby deftly showing the world you believe five minutes of viral fame and maybe a few hundred dollars are \u003cem>definitely \u003c/em>worth the fact that you're screwing said children up royally for the rest of their lives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But hey, maybe we're just being cynical here! Sometimes former child stars who hit the bigtime following band tryouts in Florida \u003ca href=\"http://www.eonline.com/news/731132/former-backstreet-boy-nick-carter-arrested-in-florida-bar\" target=\"_blank\">turn out just fine\u003c/a>.\u003c/p>\n\n",
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"excerpt": "...if you want to feel really scared and sad for America, that is! Sorry. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember a few months ago, when presidential hopeful Ben Carson's campaign tapped a young Republican rapper named Aspiring Mogul to write \u003ca href=\"http://ww2.kqed.org/pop/2015/11/05/back-away-from-the-beatbox-ben-carsons-rap-and-other-cringeworthy-pitfalls-of-political-pandering/\" target=\"_blank\">a Ben Carson-themed rap\u003c/a>? (That sick flute riff! How could you forget?)\u003c/p>\n\u003cp>Never one to be outdone, it seems Donald Trump also felt he needed a snappy, \"see-I'm-hip-with-the-youngs\" kind of theme song, and this, ladies and gentlemen -- this unholy stew of innocent children, pageant outfits and propaganda -- is the result.\u003c/p>\n\u003cp>Give yourself some time for this one. Take a few deep breaths.\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/vPRfP_TEQ-g'\n title='//www.youtube.com/embed/vPRfP_TEQ-g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Here's what we know:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>These are three members of \"\u003ca href=\"https://www.facebook.com/USAfreedomKids/\" target=\"_blank\">The USA Freedom Kids\u003c/a>.\"\u003c/li>\n\u003cli>They performed this ditty yesterday, Jan. 13, at a Trump rally in Pensacola, Florida.\u003c/li>\n\u003cli>They are lip-syncing (or, as my esteemed colleague \u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\" target=\"_blank\">Emmanuel\u003c/a> just put it, Ashlee Simpson-ing) the \u003cem>hell\u003c/em> out of this thing\u003c/li>\n\u003cli>\"Deal from strength or get crushed every time\" is a lyric the writer of this song, 53-year-old businessman Jeff Popick, thought would be a cool thing to hear coming out of the mouths of young children\u003c/li>\n\u003cli>One of those children is his own 8-year-old daughter\u003c/li>\n\u003cli>Judging by the crowd behind the kids, audience reactions ranged from \"this is cute\" to \"not feelin' it\" to \"I'm just going to take this opportunity to send a lot of text messages\" (good work, dude in the front left).\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"http://time.com/4181383/donald-trump-usa-freedom-kids/\" target=\"_blank\">TIME has an interview with the brains behind the catchy little tune\u003c/a>, in which one can learn that the elder Popick, a huge Trump supporter, originally wrote the song \"in honor of Lt. General George Patton, who led the U.S. Army when it liberated Italy in World War II, but tweaked it to focus on Trump.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Popick, who seems to be a sort of self-styled, freedom-loving \u003ca href=\"http://www.hollywoodreporter.com/news/backstreet-boys-lou-pearlmans-prison-672724\" target=\"_blank\">Lou Perlman\u003c/a>, held tryouts in order to put the group together about six months ago. Since that time, the USA Freedom Kids have performed the National Anthem at Miami Dolphins and Marlins games, but this song about destroying enemies of freedom has understandably garnered the girls the most attention thus far.\u003c/p>\n\u003cp>Now, it's tempting to suggest Popick deserves a visit from Child Protective Services, but you know what? This country\u003cem> is\u003c/em> about freedom. Freedom to write terrible songs. Freedom to purchase terrible outfits. Freedom to exploit your own children, who are far too young to form educated political views of their own, not to mention comprehend the ramifications of stumping for a racist billionaire \u003ca href=\"http://www.onthemedia.org/story/so-youve-got-demagogue/\" target=\"_blank\">demagogue\u003c/a>, thereby deftly showing the world you believe five minutes of viral fame and maybe a few hundred dollars are \u003cem>definitely \u003c/em>worth the fact that you're screwing said children up royally for the rest of their lives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But hey, maybe we're just being cynical here! Sometimes former child stars who hit the bigtime following band tryouts in Florida \u003ca href=\"http://www.eonline.com/news/731132/former-backstreet-boy-nick-carter-arrested-in-florida-bar\" target=\"_blank\">turn out just fine\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>British actor Alan Rickman, a veteran of dozens of films, has died at age 69. Recently, Rickman was most well-known for portraying the complicated villain Severus Snape in the films based on J.K. Rowling’s Harry Potter books.\u003c/p>\n\u003cp>“Rickman had been suffering from cancer,” \u003ca href=\"http://www.theguardian.com/film/2016/jan/14/alan-rickman-giant-of-british-film-and-theatre-dies-at-69\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> reports.\u003c/p>\n\u003cp>Rickman appeared in many blockbuster films during his prolific career, from 1988’s \u003cem>Die Hard\u003c/em> with Bruce Willis to 2003’s \u003cem>Love Actually\u003c/em> and the Harry Potter films.\u003c/p>\n\u003cp>Blessed with a rich and deep voice, the actor brought intelligence and humanity to a wide spectrum of roles, judiciously deploying what seemed to be a bottomless supply of frowns and smirks that endeared him to his fans.\u003c/p>\n\u003cp>While his voice became something of a trademark, Rickman once said that he endured much criticism for it in drama school. One voice teacher, as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=17424143\" target=\"_blank\" rel=\"noopener\">he recalled in 2007\u003c/a>, told Rickman that he sounded as if his voice was “coming out of the back end of a drain pipe.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Explaining his own opinion of his voice, Rickman said, “Well, it’s what I’m stuck with, so it’s not like I can go and get another one. And also, I don’t hear what anybody else hears. So it’s always a bit of a shock, you know. And it never goes away.”\u003c/p>\n\u003cp>While he might be famous for playing villains, Rickman once told NPR that those roles are “a very small part of whatever I’ve done. It’s like two or three parts, and they just happened to have big publicity budgets.”\u003c/p>\n\u003cp>Rickman also directed films and theatrical works, and he acted in plays from Shakespeare’s Antony and Cleopatra to Noel Coward’s Private Lives.\u003c/p>\n\u003cp>A former member of the Royal Shakespeare Company, Rickman \u003ca href=\"http://www.npr.org/2011/11/29/142903636/alan-rickman-from-shakespeare-to-snape\" target=\"_blank\" rel=\"noopener\">spoke to NPR in 2011 \u003c/a>about his stage work in the U.S.:\u003c/p>\n\u003cblockquote>\u003cp>\n“I love working in New York theater. … It is very demanding, but it’s good to be in a city where you feel that theater is actually part of the life of the city. You know, London is so sprawling, and you can sometimes forget that anybody else is on a stage anywhere else. But here, it’s, you know, your friends and neighbors.”\n\u003c/p>\u003c/blockquote>\n\u003cp>Three films from the 1990s help describe Rickman’s range.\u003c/p>\n\u003cp>In 1991, he turned in a memorable performance as the Sheriff of Nottingham in Robin Hood: Prince of Thieves — a film whose legacy these days isn’t helped by Kevin Costner’s hair, but which was the second-most popular film in theaters that year.\u003c/p>\n\u003cp>In 1995, he appeared in the director Ang Lee’s Sense and Sensibility, playing Colonel Brandon opposite Kate Winslet’s Marianne Dashwood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in 1999, he showed his willingness to camp it up onscreen, when he starred with Sigourney Weaver and Tim Allen in Galaxy Quest, a film that might best be described as a sci-fi romp.\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=Actor+Alan+Rickman+Has+Died%3B+Portrayed+Snape+In+Harry+Potter+Films&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>British actor Alan Rickman, a veteran of dozens of films, has died at age 69. Recently, Rickman was most well-known for portraying the complicated villain Severus Snape in the films based on J.K. Rowling’s Harry Potter books.\u003c/p>\n\u003cp>“Rickman had been suffering from cancer,” \u003ca href=\"http://www.theguardian.com/film/2016/jan/14/alan-rickman-giant-of-british-film-and-theatre-dies-at-69\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> reports.\u003c/p>\n\u003cp>Rickman appeared in many blockbuster films during his prolific career, from 1988’s \u003cem>Die Hard\u003c/em> with Bruce Willis to 2003’s \u003cem>Love Actually\u003c/em> and the Harry Potter films.\u003c/p>\n\u003cp>Blessed with a rich and deep voice, the actor brought intelligence and humanity to a wide spectrum of roles, judiciously deploying what seemed to be a bottomless supply of frowns and smirks that endeared him to his fans.\u003c/p>\n\u003cp>While his voice became something of a trademark, Rickman once said that he endured much criticism for it in drama school. One voice teacher, as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=17424143\" target=\"_blank\" rel=\"noopener\">he recalled in 2007\u003c/a>, told Rickman that he sounded as if his voice was “coming out of the back end of a drain pipe.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Explaining his own opinion of his voice, Rickman said, “Well, it’s what I’m stuck with, so it’s not like I can go and get another one. And also, I don’t hear what anybody else hears. So it’s always a bit of a shock, you know. And it never goes away.”\u003c/p>\n\u003cp>While he might be famous for playing villains, Rickman once told NPR that those roles are “a very small part of whatever I’ve done. It’s like two or three parts, and they just happened to have big publicity budgets.”\u003c/p>\n\u003cp>Rickman also directed films and theatrical works, and he acted in plays from Shakespeare’s Antony and Cleopatra to Noel Coward’s Private Lives.\u003c/p>\n\u003cp>A former member of the Royal Shakespeare Company, Rickman \u003ca href=\"http://www.npr.org/2011/11/29/142903636/alan-rickman-from-shakespeare-to-snape\" target=\"_blank\" rel=\"noopener\">spoke to NPR in 2011 \u003c/a>about his stage work in the U.S.:\u003c/p>\n\u003cblockquote>\u003cp>\n“I love working in New York theater. … It is very demanding, but it’s good to be in a city where you feel that theater is actually part of the life of the city. You know, London is so sprawling, and you can sometimes forget that anybody else is on a stage anywhere else. But here, it’s, you know, your friends and neighbors.”\n\u003c/p>\u003c/blockquote>\n\u003cp>Three films from the 1990s help describe Rickman’s range.\u003c/p>\n\u003cp>In 1991, he turned in a memorable performance as the Sheriff of Nottingham in Robin Hood: Prince of Thieves — a film whose legacy these days isn’t helped by Kevin Costner’s hair, but which was the second-most popular film in theaters that year.\u003c/p>\n\u003cp>In 1995, he appeared in the director Ang Lee’s Sense and Sensibility, playing Colonel Brandon opposite Kate Winslet’s Marianne Dashwood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in 1999, he showed his willingness to camp it up onscreen, when he starred with Sigourney Weaver and Tim Allen in Galaxy Quest, a film that might best be described as a sci-fi romp.\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=Actor+Alan+Rickman+Has+Died%3B+Portrayed+Snape+In+Harry+Potter+Films&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Fifty Shades of Grey\u003c/em> is all tied up with \u003cem>Pixels\u003c/em>, \u003cem>Jupiter Ascending\u003c/em> and \u003cem>Paul Blart Mall Cop 2\u003c/em> for the most nominations at this year’s Golden Raspberry Awards celebrating the worst in cinema.\u003c/p>\n\u003cp>The films led the Razzies lineup Wednesday with six nods each, including worst picture and worst actor for Jamie Dornan in the sexy thriller \u003cem>Fifty Shades of Grey\u003c/em>, Kevin James in the comedy sequel \u003cem>Paul Blart Mall Cop 2\u003c/em>, Channing Tatum in the sci-fi film \u003cem>Jupiter Ascending\u003c/em> and Adam Sandler in the video game mash-up \u003cem>Pixels\u003c/em> and fantasy-comedy \u003cem>The Cobbler\u003c/em>.\u003c/p>\n\u003cp>The other worst picture nominee is the superhero flop \u003cem>Fantastic Four\u003c/em>, which is also up for worst remake, screen combo, director for Josh Trank and screenplay for Simon Kinberg, Jeremy Slater and Trank.\u003c/p>\n\u003cp>The announcement of the Razzies, which launched in 1980 as a spoof of Hollywood’s awards season, comes ahead of Thursday’s Oscar nominations.\u003c/p>\n\u003cp>The “winners” for the 36th annual Razzies will be announced Feb. 27, the night before the 88th annual Academy Awards. They will be selected by 900 voting members from 47 states in the United States and 21 foreign countries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While far less star-studded than other award shows, past recipients such as Halle Berry and Sandra Bullock, have actually shown up in person to claim their gold spray-painted prizes.\u003c/p>\n\u003cp>\u003cstrong>The complete list 36th annual Razzie nominations:\u003c/strong>\u003c/p>\n\u003cp>— Worst picture: \u003cem>Fantastic Four\u003c/em>, \u003cem>Fifty Shades of Grey\u003c/em>, \u003cem>Jupiter Ascending\u003c/em>, \u003cem>Paul Blart Mall Cop 2\u003c/em>, \u003cem>Pixels\u003c/em>.\u003c/p>\n\u003cp>— Worst actor: Johnny Depp, \u003cem>Mortdecai\u003c/em>; Jamie Dornan, \u003cem>Fifty Shades of Grey\u003c/em>; Kevin James, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Adam Sandler, \u003cem>The Cobbler\u003c/em> and \u003cem>Pixels\u003c/em>; Channing Tatum, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst actress: Katherine Heigl, \u003cem>Home Sweet Hell\u003c/em>; Dakota Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Mila Kunis, \u003cem>Jupiter Ascending\u003c/em>; Jennifer Lopez, \u003cem>The Boy Next Door\u003c/em>; Gwyneth Paltrow, \u003cem>Mortdecai\u003c/em>.\u003c/p>\n\u003cp>— Worst supporting actor: Chevy Chase, \u003cem>Hot Tub Time Machine 2\u003c/em> and \u003cem>Vacation\u003c/em>; Josh Gad, \u003cem>Pixels\u003c/em> and \u003cem>The Wedding Ringer\u003c/em>; Kevin James, \u003cem>Pixels\u003c/em>; Jason Lee, \u003cem>Alvin and the Chipmunks: Road Chip\u003c/em>; Eddie Redmayne, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst supporting actress: Kaley Cuoco-Sweeting, \u003cem>Alvin and the Chipmunks: Road Chip\u003c/em> and \u003cem>The Wedding Ringer\u003c/em>; Rooney Mara, \u003cem>Pan\u003c/em>; Michelle Monaghan, \u003cem>Pixels\u003c/em>; Julianne Moore, \u003cem>Seventh Son\u003c/em>; Amanda Seyfried, \u003cem>Love the Coopers\u003c/em> and \u003cem>Pan\u003c/em>.\u003c/p>\n\u003cp>— Worst remake or sequel: \u003cem>Alvin and The Chipmunks: The Road Chip\u003c/em>; \u003cem>Fantastic Four\u003c/em>; \u003cem>Hot Tub Time Machine 2\u003c/em>; \u003cem>Human Centipede 3\u003c/em>; \u003cem>Paul Blart Mall Cop 2\u003c/em>.\u003c/p>\n\u003cp>— Worst screen combo: Miles Teller, Michael B. Jordan, Kate Mara and Jamie Bell, \u003cem>Fantastic Four\u003c/em>; Johnny Depp and his glued-on mustache, \u003cem>Mortdecai\u003c/em>; Jamie Dornan and Dakota Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Kevin James and either his Segway or glued-on mustache, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Adam Sandler and any pair of shoes, \u003cem>The Cobbler\u003c/em>.\u003c/p>\n\u003cp>— Worst director: Andy Fickman, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Tom Six, \u003cem>Human Centipede 3\u003c/em>; Sam Taylor-Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Josh Trank, \u003cem>Fantastic Four\u003c/em>; Andy and Lana Wachowski, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst screenplay: Simon Kinberg, Jeremy Slater and Josh Trank, \u003cem>Fantastic Four\u003c/em>; Kelly Marcel, \u003cem>Fifty Shades of Grey\u003c/em>; Andy and Lana Wachowski, \u003cem>Jupiter Ascending\u003c/em>; Kevin James and Nick Bakay, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Tim Herlihy and Timothy Dowling, \u003cem>Pixels\u003c/em>.\u003c/p>\n\u003cp>— Razzies redeemer award: Elizabeth Banks, M. Night Shyamalan, Will Smith and Sylvester Stallone.\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>\u003cem>Fifty Shades of Grey\u003c/em> is all tied up with \u003cem>Pixels\u003c/em>, \u003cem>Jupiter Ascending\u003c/em> and \u003cem>Paul Blart Mall Cop 2\u003c/em> for the most nominations at this year’s Golden Raspberry Awards celebrating the worst in cinema.\u003c/p>\n\u003cp>The films led the Razzies lineup Wednesday with six nods each, including worst picture and worst actor for Jamie Dornan in the sexy thriller \u003cem>Fifty Shades of Grey\u003c/em>, Kevin James in the comedy sequel \u003cem>Paul Blart Mall Cop 2\u003c/em>, Channing Tatum in the sci-fi film \u003cem>Jupiter Ascending\u003c/em> and Adam Sandler in the video game mash-up \u003cem>Pixels\u003c/em> and fantasy-comedy \u003cem>The Cobbler\u003c/em>.\u003c/p>\n\u003cp>The other worst picture nominee is the superhero flop \u003cem>Fantastic Four\u003c/em>, which is also up for worst remake, screen combo, director for Josh Trank and screenplay for Simon Kinberg, Jeremy Slater and Trank.\u003c/p>\n\u003cp>The announcement of the Razzies, which launched in 1980 as a spoof of Hollywood’s awards season, comes ahead of Thursday’s Oscar nominations.\u003c/p>\n\u003cp>The “winners” for the 36th annual Razzies will be announced Feb. 27, the night before the 88th annual Academy Awards. They will be selected by 900 voting members from 47 states in the United States and 21 foreign countries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While far less star-studded than other award shows, past recipients such as Halle Berry and Sandra Bullock, have actually shown up in person to claim their gold spray-painted prizes.\u003c/p>\n\u003cp>\u003cstrong>The complete list 36th annual Razzie nominations:\u003c/strong>\u003c/p>\n\u003cp>— Worst picture: \u003cem>Fantastic Four\u003c/em>, \u003cem>Fifty Shades of Grey\u003c/em>, \u003cem>Jupiter Ascending\u003c/em>, \u003cem>Paul Blart Mall Cop 2\u003c/em>, \u003cem>Pixels\u003c/em>.\u003c/p>\n\u003cp>— Worst actor: Johnny Depp, \u003cem>Mortdecai\u003c/em>; Jamie Dornan, \u003cem>Fifty Shades of Grey\u003c/em>; Kevin James, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Adam Sandler, \u003cem>The Cobbler\u003c/em> and \u003cem>Pixels\u003c/em>; Channing Tatum, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst actress: Katherine Heigl, \u003cem>Home Sweet Hell\u003c/em>; Dakota Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Mila Kunis, \u003cem>Jupiter Ascending\u003c/em>; Jennifer Lopez, \u003cem>The Boy Next Door\u003c/em>; Gwyneth Paltrow, \u003cem>Mortdecai\u003c/em>.\u003c/p>\n\u003cp>— Worst supporting actor: Chevy Chase, \u003cem>Hot Tub Time Machine 2\u003c/em> and \u003cem>Vacation\u003c/em>; Josh Gad, \u003cem>Pixels\u003c/em> and \u003cem>The Wedding Ringer\u003c/em>; Kevin James, \u003cem>Pixels\u003c/em>; Jason Lee, \u003cem>Alvin and the Chipmunks: Road Chip\u003c/em>; Eddie Redmayne, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst supporting actress: Kaley Cuoco-Sweeting, \u003cem>Alvin and the Chipmunks: Road Chip\u003c/em> and \u003cem>The Wedding Ringer\u003c/em>; Rooney Mara, \u003cem>Pan\u003c/em>; Michelle Monaghan, \u003cem>Pixels\u003c/em>; Julianne Moore, \u003cem>Seventh Son\u003c/em>; Amanda Seyfried, \u003cem>Love the Coopers\u003c/em> and \u003cem>Pan\u003c/em>.\u003c/p>\n\u003cp>— Worst remake or sequel: \u003cem>Alvin and The Chipmunks: The Road Chip\u003c/em>; \u003cem>Fantastic Four\u003c/em>; \u003cem>Hot Tub Time Machine 2\u003c/em>; \u003cem>Human Centipede 3\u003c/em>; \u003cem>Paul Blart Mall Cop 2\u003c/em>.\u003c/p>\n\u003cp>— Worst screen combo: Miles Teller, Michael B. Jordan, Kate Mara and Jamie Bell, \u003cem>Fantastic Four\u003c/em>; Johnny Depp and his glued-on mustache, \u003cem>Mortdecai\u003c/em>; Jamie Dornan and Dakota Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Kevin James and either his Segway or glued-on mustache, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Adam Sandler and any pair of shoes, \u003cem>The Cobbler\u003c/em>.\u003c/p>\n\u003cp>— Worst director: Andy Fickman, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Tom Six, \u003cem>Human Centipede 3\u003c/em>; Sam Taylor-Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Josh Trank, \u003cem>Fantastic Four\u003c/em>; Andy and Lana Wachowski, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst screenplay: Simon Kinberg, Jeremy Slater and Josh Trank, \u003cem>Fantastic Four\u003c/em>; Kelly Marcel, \u003cem>Fifty Shades of Grey\u003c/em>; Andy and Lana Wachowski, \u003cem>Jupiter Ascending\u003c/em>; Kevin James and Nick Bakay, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Tim Herlihy and Timothy Dowling, \u003cem>Pixels\u003c/em>.\u003c/p>\n\u003cp>— Razzies redeemer award: Elizabeth Banks, M. Night Shyamalan, Will Smith and Sylvester Stallone.\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>Arthur Gardner, a.k.a. Dopey Fresh, spends many mornings trying to rouse BART commuters out of an iPhone-induced stupor.\u003c/p>\n\u003cp>“Good morning, ladies and gentlemen!” he calls out to the crowd on board the San Francisco-bound train. “We got a wonderful dance show for you guys.”\u003c/p>\n\u003cp>Dopey, as his friends call him for short, flips on some music and starts gliding across the train. Another dancer, Intricate, takes over, contorting his arms into impossible twists. Then comes Krow. He folds his right foot behind his neck, grabs the handle bars overhead, and flips.\u003c/p>\n\u003cfigure id=\"attachment_11241357\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11241357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1180x800.jpg\" alt='\"Krow\" the dancer shows his moves on a BART train' width=\"640\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1920x1302.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-960x651.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Krow” the dancer shows his moves on a BART train \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ohhhh, ouch,” says Dopey, making faces at the train passengers, who are now awake and smiling. “Please do not try this at home!”\u003c/p>\n\u003cp>When dancer and choreographer My-Linh Le saw these turf dancing moves on the train, she noticed echoes of ballet. Le has studied both dance forms, and she says the similarities between the street dance developed in Oakland and the well-established classical form amaze her — the gracefulness, the technicality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Le started talking to the turfers from Bart about a collaboration. She wanted to take them off the train and put them on stage, with ballet dancers she recruited from the Alonzo King Lines School, the educational wing of one of the Bay Area’s most prominent classical dance organizations.\u003c/p>\n\u003cp>“If these dancers from the conservatory world of ballet could somehow have so much movement-wise in common with these other guys who have never really stepped foot in conservatory or a studio, then I think that says a lot about our human nature,” says Le.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/241652769″ 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>Other street artists have explored the similarities with ballet. The Oakland street dance crew, the Turffeinz, paired up with the Oakland Ballet in 2014. Los Angeles-based street dancer Lil’ Buck created a \u003ca href=\"https://www.youtube.com/watch?v=JZumgHLSW10\">widely-acclaimed interpretation\u003c/a> of “The Dying Swan,” accompanied by Yo-Yo Ma on solo cello, which he eventually performed at the Vail International Dance Festival.\u003c/p>\n\u003cp>Le scored a spot for her group to perform in this year’s \u003ca href=\"http://www.dancemission.com/programs/down_and_dirty.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. – Dance in Revolt(ing) Times\u003c/a> festival, a two-week event dedicated to political dance, at Dance Mission Theater in San Francisco.\u003c/p>\n\u003cp>But the creative process turned out to be more difficult than anyone anticipated.\u003c/p>\n\u003cfigure id=\"attachment_11241462\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11241462\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-800x499.jpg\" alt=\"Turf dancers Intricate (in white) and No Name (in green) practice in the studio\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-768x479.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Turf dancers Intricate (in white) and No Name (in green) practice in the studio \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Le’s first obstacle: she had a hard time getting the turfers to show up for rehearsal. Le didn’t have money to pay them. The turfers said that the hours they would spend rehearsing for free, they could be making money dancing on BART.\u003c/p>\n\u003cp>“We’re just good kids with good hearts, doing this for the love of dance,” Dopey tells his audiences on the train. “But they say the best nation is..?” “A \u003cem>do\u003c/em>-nation!” the dancers answer back.\u003c/p>\n\u003cp>Most days, the turfers take home between $100 and $200 each. That’s a lot of money for these guys to turn down.\u003c/p>\n\u003cp>“I work at Jamba Juice and I go to community college at Laney,” says Hector Alexander Ascencio, a.k.a. Intricate. “It’s kind of a struggle right now, I’m not even gonna to lie. A lot of turfers, lot of dancers out here, come from the struggle. Bay Area’s known for a lot of struggling.”\u003c/p>\n\u003cp>Le tried looking for grants. But to her, the world of institutional fundraising seemed reserved for established choreographers in established dance forms. She saw big ballet companies getting money, but she says there wasn’t much for young artists trying to break into the dance scene.\u003c/p>\n\u003cp>“It’s like a club,” Le says. “To get admission to this club you have to prove yourself as an artist, and to prove yourself as an artist, you need money. It’s just oriented towards anybody who already has money or support.”\u003c/p>\n\u003cp>So Le started a crowdfunding campaign to get her project off the ground and managed to achieve her goal of $10,000. She used the funds primarily to pay for the dancers’ time.\u003c/p>\n\u003cp>But the money turned out to be just the first hurdle. Once the ballerinas and turfers got into the studio together, cultures clashed.\u003c/p>\n\u003cp>“Even the first rehearsal was very eye opening,” says ballet dancer Tatiana Barber, who was surprised by the turfers’ freestyle warm up. “In ballet class, you have strict technique. You start with \u003cem>plies\u003c/em> and \u003cem>detendus\u003c/em>,” she says, referencing the series of knee-bends and stretches ballet dancers do at the barre. “It’s always the same.”\u003c/p>\n\u003cfigure id=\"attachment_11241464\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11241464\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-800x470.jpg\" alt=\"Dopey Fresh celebrates after pulling off a big dance move on a BART train\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-768x451.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dopey Fresh celebrates after pulling off a big dance move on a BART train \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the ballet dancers and turfers tried to choreograph steps together, things quickly got complicated.\u003c/p>\n\u003cp>“Wooo! The language,” says turf dancer Algerion Bryant, a.k.a. Krow. “The way they set their stuff up and the way we set our stuff up is completely different.”\u003c/p>\n\u003cp>“For ballet, vocabulary is very structured and we have very set timing and beats and counting,” says ballerina Christine Beggs, “For turfers, they don’t really have set names for things. They really actually can’t articulate a lot of it very well, because it’s like a feeling or something, you just gotta feel it. I’m like, I look ridiculous.”\u003c/p>\n\u003cp>Krow compares the differences to painting.\u003c/p>\n\u003cp>“See somebody color inside the lines, you got this person did the same thing, but they color outside the lines,” Krow says. “You have the one with rules and boundaries and the one without rules and boundaries.”\u003c/p>\n\u003cp>Rehearsals became chaotic as a result of the creative differences. So Le had to split the two camps up for a while. The ballet dancers met on Mondays, and the turfers on Saturdays.\u003c/p>\n\u003cp>But Le says when she threw the choreography out the window and just had the dancers improv together, the results were magical.\u003c/p>\n\u003cp>“It left everyone in shock,” Le says. “They just had moments where they suddenly thought the same thing and did the same thing at the same time. And it was crazy because you know that could only happen when two people are so in tune with each other and listening so hard that they could be thinking the same thing.”\u003c/p>\n\u003cfigure id=\"attachment_11241465\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241465\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/tatiana2CROP.jpg\" alt=\"Practicing for 'D.I.R.T.'\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tatiana2CROP.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tatiana2CROP-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Practicing for the D.I.R.T. Festival \u003ccite>(Photo: Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time the festival comes around, the dancers will have a 17-minute piece — a mix of solos and ensemble dances, both improvised and choreographed, set to music from The Federation, Nina Simone, and spoken word from Kendrick Lamar.\u003c/p>\n\u003cp>In one section, Le wants to explore the concept of misunderstanding. She sat in a circle with the dancers at a recent rehearsal to explain.\u003c/p>\n\u003cp>“I wanted to use the Ugly Duckling, which I think a lot of people misinterpret as a story about transformation,” Le says. “It’s kinda funny because the Duckling didn’t suddenly transform into a swan, he was actually always a swan. So it was actually a story about misperception.”\u003c/p>\n\u003cp>It’s the same with turfing, Le says. Street dance has always been as artful as ballet.\u003c/p>\n\u003cp>“By putting turfing in a theater or on a stage where the audience has to sit there and really look at it, turfing doesn’t change,” Le says. “What happens instead is the audience’s perception changes.”\u003c/p>\n\u003cp>\u003cem>The dancers perform Jan. 30 and 31 as part of the \u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. Festival\u003c/a> at the Dance Mission Theater in San Francisco.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>UPDATE: Watch \u003ca href=\"http://ww2.kqed.org/arts/2016/03/01/how-turfers-and-ballet-dancers-found-their-groove-together/\">a video\u003c/a> about this collaboration by KQED’s Kelly Whalen, including clips from the sold-out performance.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arthur Gardner, a.k.a. Dopey Fresh, spends many mornings trying to rouse BART commuters out of an iPhone-induced stupor.\u003c/p>\n\u003cp>“Good morning, ladies and gentlemen!” he calls out to the crowd on board the San Francisco-bound train. “We got a wonderful dance show for you guys.”\u003c/p>\n\u003cp>Dopey, as his friends call him for short, flips on some music and starts gliding across the train. Another dancer, Intricate, takes over, contorting his arms into impossible twists. Then comes Krow. He folds his right foot behind his neck, grabs the handle bars overhead, and flips.\u003c/p>\n\u003cfigure id=\"attachment_11241357\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11241357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1180x800.jpg\" alt='\"Krow\" the dancer shows his moves on a BART train' width=\"640\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1920x1302.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-960x651.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Krow” the dancer shows his moves on a BART train \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ohhhh, ouch,” says Dopey, making faces at the train passengers, who are now awake and smiling. “Please do not try this at home!”\u003c/p>\n\u003cp>When dancer and choreographer My-Linh Le saw these turf dancing moves on the train, she noticed echoes of ballet. Le has studied both dance forms, and she says the similarities between the street dance developed in Oakland and the well-established classical form amaze her — the gracefulness, the technicality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Le started talking to the turfers from Bart about a collaboration. She wanted to take them off the train and put them on stage, with ballet dancers she recruited from the Alonzo King Lines School, the educational wing of one of the Bay Area’s most prominent classical dance organizations.\u003c/p>\n\u003cp>“If these dancers from the conservatory world of ballet could somehow have so much movement-wise in common with these other guys who have never really stepped foot in conservatory or a studio, then I think that says a lot about our human nature,” says Le.\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/241652769″&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/241652769″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Other street artists have explored the similarities with ballet. The Oakland street dance crew, the Turffeinz, paired up with the Oakland Ballet in 2014. Los Angeles-based street dancer Lil’ Buck created a \u003ca href=\"https://www.youtube.com/watch?v=JZumgHLSW10\">widely-acclaimed interpretation\u003c/a> of “The Dying Swan,” accompanied by Yo-Yo Ma on solo cello, which he eventually performed at the Vail International Dance Festival.\u003c/p>\n\u003cp>Le scored a spot for her group to perform in this year’s \u003ca href=\"http://www.dancemission.com/programs/down_and_dirty.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. – Dance in Revolt(ing) Times\u003c/a> festival, a two-week event dedicated to political dance, at Dance Mission Theater in San Francisco.\u003c/p>\n\u003cp>But the creative process turned out to be more difficult than anyone anticipated.\u003c/p>\n\u003cfigure id=\"attachment_11241462\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11241462\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-800x499.jpg\" alt=\"Turf dancers Intricate (in white) and No Name (in green) practice in the studio\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-768x479.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Turf dancers Intricate (in white) and No Name (in green) practice in the studio \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Le’s first obstacle: she had a hard time getting the turfers to show up for rehearsal. Le didn’t have money to pay them. The turfers said that the hours they would spend rehearsing for free, they could be making money dancing on BART.\u003c/p>\n\u003cp>“We’re just good kids with good hearts, doing this for the love of dance,” Dopey tells his audiences on the train. “But they say the best nation is..?” “A \u003cem>do\u003c/em>-nation!” the dancers answer back.\u003c/p>\n\u003cp>Most days, the turfers take home between $100 and $200 each. That’s a lot of money for these guys to turn down.\u003c/p>\n\u003cp>“I work at Jamba Juice and I go to community college at Laney,” says Hector Alexander Ascencio, a.k.a. Intricate. “It’s kind of a struggle right now, I’m not even gonna to lie. A lot of turfers, lot of dancers out here, come from the struggle. Bay Area’s known for a lot of struggling.”\u003c/p>\n\u003cp>Le tried looking for grants. But to her, the world of institutional fundraising seemed reserved for established choreographers in established dance forms. She saw big ballet companies getting money, but she says there wasn’t much for young artists trying to break into the dance scene.\u003c/p>\n\u003cp>“It’s like a club,” Le says. “To get admission to this club you have to prove yourself as an artist, and to prove yourself as an artist, you need money. It’s just oriented towards anybody who already has money or support.”\u003c/p>\n\u003cp>So Le started a crowdfunding campaign to get her project off the ground and managed to achieve her goal of $10,000. She used the funds primarily to pay for the dancers’ time.\u003c/p>\n\u003cp>But the money turned out to be just the first hurdle. Once the ballerinas and turfers got into the studio together, cultures clashed.\u003c/p>\n\u003cp>“Even the first rehearsal was very eye opening,” says ballet dancer Tatiana Barber, who was surprised by the turfers’ freestyle warm up. “In ballet class, you have strict technique. You start with \u003cem>plies\u003c/em> and \u003cem>detendus\u003c/em>,” she says, referencing the series of knee-bends and stretches ballet dancers do at the barre. “It’s always the same.”\u003c/p>\n\u003cfigure id=\"attachment_11241464\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11241464\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-800x470.jpg\" alt=\"Dopey Fresh celebrates after pulling off a big dance move on a BART train\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-768x451.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dopey Fresh celebrates after pulling off a big dance move on a BART train \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the ballet dancers and turfers tried to choreograph steps together, things quickly got complicated.\u003c/p>\n\u003cp>“Wooo! The language,” says turf dancer Algerion Bryant, a.k.a. Krow. “The way they set their stuff up and the way we set our stuff up is completely different.”\u003c/p>\n\u003cp>“For ballet, vocabulary is very structured and we have very set timing and beats and counting,” says ballerina Christine Beggs, “For turfers, they don’t really have set names for things. They really actually can’t articulate a lot of it very well, because it’s like a feeling or something, you just gotta feel it. I’m like, I look ridiculous.”\u003c/p>\n\u003cp>Krow compares the differences to painting.\u003c/p>\n\u003cp>“See somebody color inside the lines, you got this person did the same thing, but they color outside the lines,” Krow says. “You have the one with rules and boundaries and the one without rules and boundaries.”\u003c/p>\n\u003cp>Rehearsals became chaotic as a result of the creative differences. So Le had to split the two camps up for a while. The ballet dancers met on Mondays, and the turfers on Saturdays.\u003c/p>\n\u003cp>But Le says when she threw the choreography out the window and just had the dancers improv together, the results were magical.\u003c/p>\n\u003cp>“It left everyone in shock,” Le says. “They just had moments where they suddenly thought the same thing and did the same thing at the same time. And it was crazy because you know that could only happen when two people are so in tune with each other and listening so hard that they could be thinking the same thing.”\u003c/p>\n\u003cfigure id=\"attachment_11241465\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241465\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/tatiana2CROP.jpg\" alt=\"Practicing for 'D.I.R.T.'\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tatiana2CROP.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tatiana2CROP-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Practicing for the D.I.R.T. Festival \u003ccite>(Photo: Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time the festival comes around, the dancers will have a 17-minute piece — a mix of solos and ensemble dances, both improvised and choreographed, set to music from The Federation, Nina Simone, and spoken word from Kendrick Lamar.\u003c/p>\n\u003cp>In one section, Le wants to explore the concept of misunderstanding. She sat in a circle with the dancers at a recent rehearsal to explain.\u003c/p>\n\u003cp>“I wanted to use the Ugly Duckling, which I think a lot of people misinterpret as a story about transformation,” Le says. “It’s kinda funny because the Duckling didn’t suddenly transform into a swan, he was actually always a swan. So it was actually a story about misperception.”\u003c/p>\n\u003cp>It’s the same with turfing, Le says. Street dance has always been as artful as ballet.\u003c/p>\n\u003cp>“By putting turfing in a theater or on a stage where the audience has to sit there and really look at it, turfing doesn’t change,” Le says. “What happens instead is the audience’s perception changes.”\u003c/p>\n\u003cp>\u003cem>The dancers perform Jan. 30 and 31 as part of the \u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. Festival\u003c/a> at the Dance Mission Theater in San Francisco.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>UPDATE: Watch \u003ca href=\"http://ww2.kqed.org/arts/2016/03/01/how-turfers-and-ballet-dancers-found-their-groove-together/\">a video\u003c/a> about this collaboration by KQED’s Kelly Whalen, including clips from the sold-out performance.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"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.",
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"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>",
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"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?",
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"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.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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