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"content": "\u003cp>Could things be looking up for the \u003ca href=\"http://siliconvalleyballet.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Ballet\u003c/a> (SVB)?\u003c/p>\n\u003cp>After a tempestuous 2015, including a \u003ca href=\"http://ww2.kqed.org/news/2015/03/06/ballet-san-jose-says-it-needs-cash-to-avoid-closing\" target=\"_blank\" rel=\"noopener\">near-shutdown in March\u003c/a> and the\u003ca href=\"https://www.sfcv.org/music-news/ballet-san-jose-chief-resigns#sthash.29bVAfiQ.dpuf\" target=\"_blank\" rel=\"noopener\"> departure of a chief executive\u003c/a> in June, the ballet formerly known as Ballet San Jose has set off on a high-profile, eight-city tour of Spain.\u003c/p>\n\u003cp>SVB’s Artistic Director \u003ca href=\"http://siliconvalleyballet.org/jose-manuel-carreno/\" target=\"_blank\" rel=\"noopener\">José Manuel Carreño\u003c/a> describes the trip as “a wonderful opportunity for the company to gain international exposure.” Upon return, the San Jose-based company will perform the works for local audiences, including \u003cem>Pas de Deux \u003c/em>choreographed by Carreño, \u003cem>Glow-Stop\u003c/em> (2006) by Jorma Elo, \u003cem>Prism\u003c/em> (2014) by Annabelle Lopez-Ochoa, and \u003cem>Minus 16\u003c/em> (1999) by Ohad Naharin.\u003c/p>\n\u003cp>\u003cem>Pas De Deux\u003c/em> is Carreño’s first piece of choreography for SVB. The former American Ballet Theatre dancer garnered positive headlines with his decision to \u003ca href=\"http://ww2.kqed.org/arts/2015/10/14/silicon-valley-ballet-makes-history-with-cuban-giselle/\" target=\"_blank\" rel=\"noopener\">produce a legendary Cuban version of \u003cem>Giselle \u003c/em>\u003c/a>last fall\u003cem>. \u003c/em>But the Spanish tour is his biggest coup yet. Executive director Millicent Powers explains it was on a trip to Cuba that Carreño struck up a conversation that led to this trip to Spain, involving a couple dozen dancers. The tour is being financed by largely paid for by the Spanish presenter Solano y Garcia Productions.\u003c/p>\n\u003cfigure id=\"attachment_11275920\" class=\"wp-caption alignleft\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11275920\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18203_Jos%C3%A9-Manuel-Carre%C3%B1o-qut-400x600.jpg\" alt=\"José Manuel Carreño, Silicon Valley Ballet Artistic Director\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18203_José-Manuel-Carreño-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18203_José-Manuel-Carreño-qut.jpg 500w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">José Manuel Carreño, Silicon Valley Ballet Artistic Director \u003ccite>(Courtesy Silicon Valley Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Powers says the regional company broke even last year, and expects to again this year. But there is no cash for extras. For example, SVB is not in a position to pay for live music for the foreseeable future. The production of \u003cem>Giselle\u003c/em> last fall used recorded music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For The Nutcracker alone,” Powers says, “it would have added 30 percent to our direct costs. We couldn’t justify raising ticket prices beyond what’s affordable for the community. We’re looking forward to [live music], but probably not this season.”\u003c/p>\n\u003cp>Since the departure of Alan Hineline last summer, management duties have been split between Raymond Rodriguez, who runs operations, and Dalia Rawson, who runs SVB’s schools. The educational arm of the organization serves roughly 400 students in San Jose and Palo Alto through pre-professional classes as well as summer intensives\u003c/p>\n\u003cp>“We do earn over half our income, from ticket sales and teaching,” Powers says. The company also makes money from corporate events, like sending a troupe to perform at a \u003cem>Nutcracker\u003c/em>-themed party for YouTube.\u003c/p>\n\u003cp>“I do feel that the company has gathered some new momentum with the grassroots fundraising campaign and the personal efforts of Jose Manuel Carreño,” says Mary Ellen Hunt, a dance writer for the \u003cem>San Francisco Chronicle\u003c/em>. “Right now, from an artistic point of view, it’s a solid, mid-range company with an attractive roster of dancers and repertoire that has some adventurous as well as safe choices on the list.” Hunt adds that if the company can right itself financially, “there could be some exciting years for the company ahead artistically.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, because SVB is visiting Spain during the festival off-season, that means lots of theaters are open and available. Powers says she figures the dancers will get a big kick performing on major stages like \u003ca href=\"http://www.teatroscanal.com/\" target=\"_blank\" rel=\"noopener\">Teatro del Canal\u003c/a> in Madrid. “Those stages are just gorgeous,” she says. Not to mention government-funded.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Could things be looking up for the \u003ca href=\"http://siliconvalleyballet.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Ballet\u003c/a> (SVB)?\u003c/p>\n\u003cp>After a tempestuous 2015, including a \u003ca href=\"http://ww2.kqed.org/news/2015/03/06/ballet-san-jose-says-it-needs-cash-to-avoid-closing\" target=\"_blank\" rel=\"noopener\">near-shutdown in March\u003c/a> and the\u003ca href=\"https://www.sfcv.org/music-news/ballet-san-jose-chief-resigns#sthash.29bVAfiQ.dpuf\" target=\"_blank\" rel=\"noopener\"> departure of a chief executive\u003c/a> in June, the ballet formerly known as Ballet San Jose has set off on a high-profile, eight-city tour of Spain.\u003c/p>\n\u003cp>SVB’s Artistic Director \u003ca href=\"http://siliconvalleyballet.org/jose-manuel-carreno/\" target=\"_blank\" rel=\"noopener\">José Manuel Carreño\u003c/a> describes the trip as “a wonderful opportunity for the company to gain international exposure.” Upon return, the San Jose-based company will perform the works for local audiences, including \u003cem>Pas de Deux \u003c/em>choreographed by Carreño, \u003cem>Glow-Stop\u003c/em> (2006) by Jorma Elo, \u003cem>Prism\u003c/em> (2014) by Annabelle Lopez-Ochoa, and \u003cem>Minus 16\u003c/em> (1999) by Ohad Naharin.\u003c/p>\n\u003cp>\u003cem>Pas De Deux\u003c/em> is Carreño’s first piece of choreography for SVB. The former American Ballet Theatre dancer garnered positive headlines with his decision to \u003ca href=\"http://ww2.kqed.org/arts/2015/10/14/silicon-valley-ballet-makes-history-with-cuban-giselle/\" target=\"_blank\" rel=\"noopener\">produce a legendary Cuban version of \u003cem>Giselle \u003c/em>\u003c/a>last fall\u003cem>. \u003c/em>But the Spanish tour is his biggest coup yet. Executive director Millicent Powers explains it was on a trip to Cuba that Carreño struck up a conversation that led to this trip to Spain, involving a couple dozen dancers. The tour is being financed by largely paid for by the Spanish presenter Solano y Garcia Productions.\u003c/p>\n\u003cfigure id=\"attachment_11275920\" class=\"wp-caption alignleft\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11275920\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18203_Jos%C3%A9-Manuel-Carre%C3%B1o-qut-400x600.jpg\" alt=\"José Manuel Carreño, Silicon Valley Ballet Artistic Director\" width=\"200\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18203_José-Manuel-Carreño-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18203_José-Manuel-Carreño-qut.jpg 500w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">José Manuel Carreño, Silicon Valley Ballet Artistic Director \u003ccite>(Courtesy Silicon Valley Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Powers says the regional company broke even last year, and expects to again this year. But there is no cash for extras. For example, SVB is not in a position to pay for live music for the foreseeable future. The production of \u003cem>Giselle\u003c/em> last fall used recorded music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For The Nutcracker alone,” Powers says, “it would have added 30 percent to our direct costs. We couldn’t justify raising ticket prices beyond what’s affordable for the community. We’re looking forward to [live music], but probably not this season.”\u003c/p>\n\u003cp>Since the departure of Alan Hineline last summer, management duties have been split between Raymond Rodriguez, who runs operations, and Dalia Rawson, who runs SVB’s schools. The educational arm of the organization serves roughly 400 students in San Jose and Palo Alto through pre-professional classes as well as summer intensives\u003c/p>\n\u003cp>“We do earn over half our income, from ticket sales and teaching,” Powers says. The company also makes money from corporate events, like sending a troupe to perform at a \u003cem>Nutcracker\u003c/em>-themed party for YouTube.\u003c/p>\n\u003cp>“I do feel that the company has gathered some new momentum with the grassroots fundraising campaign and the personal efforts of Jose Manuel Carreño,” says Mary Ellen Hunt, a dance writer for the \u003cem>San Francisco Chronicle\u003c/em>. “Right now, from an artistic point of view, it’s a solid, mid-range company with an attractive roster of dancers and repertoire that has some adventurous as well as safe choices on the list.” Hunt adds that if the company can right itself financially, “there could be some exciting years for the company ahead artistically.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, because SVB is visiting Spain during the festival off-season, that means lots of theaters are open and available. Powers says she figures the dancers will get a big kick performing on major stages like \u003ca href=\"http://www.teatroscanal.com/\" target=\"_blank\" rel=\"noopener\">Teatro del Canal\u003c/a> in Madrid. “Those stages are just gorgeous,” she says. Not to mention government-funded.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.hamiltonbroadway.com/?gclid=Cj0KEQiAz5y1BRDZ4Z_K_eGa84cBEiQAtQkeaAzizs7ZPYe-uYLVaOdyIYqX2xyJ9mkMcIYPYyOoWWQaAhWX8P8HAQ\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton \u003c/em>\u003c/a>is launching its national tour in San Francisco. The hit Broadway musical begins what’s likely to be a 21-week run in March 2017, the San Francisco-based presenter \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> announced Tuesday. The touring production then heads to the Hollywood Pantages Theater in August.\u003c/p>\n\u003cp>\u003cem>In the Heights\u003c/em> creator\u003ca href=\"http://www.linmanuel.com/\" target=\"_blank\" rel=\"noopener\"> Lin-Manuel Miranda’s\u003c/a> innovative musical about the life of founding father Alexander Hamilton blending rap, hip-hop and jazz influences has drawn rapt audiences since it opened on Broadway last August. Tickets have been in high demand, with resale prices soaring beyond the $900 mark. The Broadway production is sold out through Oct. 30.\u003c/p>\n\u003cp>Hundreds of people have been lining up outside the Richard Rodgers Theatre in Manhattan on performance days to try their hands at winning the ticket lottery, prompting the show’s management presenter to move proceedings \u003ca href=\"http://www.playbill.com/news/article/safety-concerns-prompt-hamilton-lottery-and-ham4ham-to-go-digital-377421\">online\u003c/a> for safety reasons.\u003c/p>\n\u003cp>The show has a strong Bay Area connection: Oakland-born rapper and actor Daveed Diggs plays the leading roles in the Broadway production of the characters Marquis de Lafayette and Thomas Jefferson.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> will anchor SHN’s 2016-2017 season, joining Tony Award-winning play\u003cem> The Curious Incident of the Dog in the Night-Time\u003c/em>. Four additional Broadway productions will be announced this March. SHN member seats for the season are currently available, ranging in price from $245 to $700. Single ticket sales for \u003cem>Hamilton\u003c/em> will be announced at a later date.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bay Area audiences won’t be the first to see Hamilton outside of New York City. The Broadway producers have announced an open-ended run in \u003ca href=\"http://broadwayinchicago.com/show/hamilton/\">Chicago\u003c/a> starting in Sept. 2016.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.hamiltonbroadway.com/?gclid=Cj0KEQiAz5y1BRDZ4Z_K_eGa84cBEiQAtQkeaAzizs7ZPYe-uYLVaOdyIYqX2xyJ9mkMcIYPYyOoWWQaAhWX8P8HAQ\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton \u003c/em>\u003c/a>is launching its national tour in San Francisco. The hit Broadway musical begins what’s likely to be a 21-week run in March 2017, the San Francisco-based presenter \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> announced Tuesday. The touring production then heads to the Hollywood Pantages Theater in August.\u003c/p>\n\u003cp>\u003cem>In the Heights\u003c/em> creator\u003ca href=\"http://www.linmanuel.com/\" target=\"_blank\" rel=\"noopener\"> Lin-Manuel Miranda’s\u003c/a> innovative musical about the life of founding father Alexander Hamilton blending rap, hip-hop and jazz influences has drawn rapt audiences since it opened on Broadway last August. Tickets have been in high demand, with resale prices soaring beyond the $900 mark. The Broadway production is sold out through Oct. 30.\u003c/p>\n\u003cp>Hundreds of people have been lining up outside the Richard Rodgers Theatre in Manhattan on performance days to try their hands at winning the ticket lottery, prompting the show’s management presenter to move proceedings \u003ca href=\"http://www.playbill.com/news/article/safety-concerns-prompt-hamilton-lottery-and-ham4ham-to-go-digital-377421\">online\u003c/a> for safety reasons.\u003c/p>\n\u003cp>The show has a strong Bay Area connection: Oakland-born rapper and actor Daveed Diggs plays the leading roles in the Broadway production of the characters Marquis de Lafayette and Thomas Jefferson.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> will anchor SHN’s 2016-2017 season, joining Tony Award-winning play\u003cem> The Curious Incident of the Dog in the Night-Time\u003c/em>. Four additional Broadway productions will be announced this March. SHN member seats for the season are currently available, ranging in price from $245 to $700. Single ticket sales for \u003cem>Hamilton\u003c/em> will be announced at a later date.\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>Bay Area audiences won’t be the first to see Hamilton outside of New York City. The Broadway producers have announced an open-ended run in \u003ca href=\"http://broadwayinchicago.com/show/hamilton/\">Chicago\u003c/a> starting in Sept. 2016.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Michael Kennedy, the civil rights attorney who successfully defended Huey Newton and many other notable figures in his 50-year career, has died. He was 78.\u003c/p>\n\u003cp>Born in Washington, Kennedy first moved to the Bay Area to attend college, first at UC Berkeley and later at Hastings College of Law. He began his legal career working on high-profile cases, most notably with Newton when the Black Panther was charged with killing Oakland Police Officer John Frey in 1967, and the Chicago Eight conspiracy case. \u003c/p>\n\u003cp>Kennedy started his private practice in San Francisco in 1969, and Newton would be one of his first clients. Kennedy would later defend the co-founder of the Black Panther Party against charges that he murdered a 17-year-old prostitute. Newton went to trial twice over the charge, and both times a mistrial was declared, the juries deadlocked in favor of acquittal. The charge was dropped in 1979.\u003c/p>\n\u003cp>Other early clients of Kennedy included LSD guru Timothy Leary, Bernardine Dohrn of the Weathermen, and Jim and Artie Mitchell, the founders of the world-famous O’Farrell Theater in San Francisco’s Tenderloin district. Kennedy began working with the brothers in early ’70s, defending them against obscenity charges brought by the city of San Francisco — the brothers would be arrested close to 200 times during this period. Decades later, in 1991, Kennedy would defend Jim Mitchell against charges that he killed his brother Artie while in a drunken rage; Kennedy succeeded in reducing the charge from murder in the second degree to manslaughter.\u003c/p>\n\u003cp>“When you think about progressive defense attorneys in San Francisco in the 1970s, no name looms larger than that of Michael Kennedy,” Senior Editor for KQED News and former \u003cem>Rolling Stone\u003c/em> reporter David Weir says. “He was involved in big case after big case and my impression is that he won the overwhelming majority of them. He was a really scrappy lawyer in court, devoted to his clients, a good friend to many people (including me), the host of radical chic parties, and inside, a man with a big heart.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the end of the ’70s, Kennedy had moved to New York and would go on to work for \u003ca href=\"http://www.celebstoner.com/news/marijuana-news/2016/01/25/high-times-chairman-michael-kennedy-dies/\" target=\"_blank\" rel=\"noopener\">High Times publisher Tom Forcade\u003c/a>, New York mob boss Gaetano Badalamenti and even Ivana Trump. He even made an appearance in the HBO documentary miniseries \u003ci>The Jinx: The Life and Deaths of Robert Durst\u003c/i>, as he also represented Durst’s brother, Douglas Durst, and the Durst Organization.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.legacy.com/obituaries/nytimes/obituary.aspx?n=michael-kennedy&pid=177447859&fhid=2058\" target=\"_blank\" rel=\"noopener\">Kennedy died Monday morning\u003c/a> from an unspecified illness at Memorial Sloan Kettering Hospital in New York. His funeral has been scheduled for this Friday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Kennedy, the civil rights attorney who successfully defended Huey Newton and many other notable figures in his 50-year career, has died. He was 78.\u003c/p>\n\u003cp>Born in Washington, Kennedy first moved to the Bay Area to attend college, first at UC Berkeley and later at Hastings College of Law. He began his legal career working on high-profile cases, most notably with Newton when the Black Panther was charged with killing Oakland Police Officer John Frey in 1967, and the Chicago Eight conspiracy case. \u003c/p>\n\u003cp>Kennedy started his private practice in San Francisco in 1969, and Newton would be one of his first clients. Kennedy would later defend the co-founder of the Black Panther Party against charges that he murdered a 17-year-old prostitute. Newton went to trial twice over the charge, and both times a mistrial was declared, the juries deadlocked in favor of acquittal. The charge was dropped in 1979.\u003c/p>\n\u003cp>Other early clients of Kennedy included LSD guru Timothy Leary, Bernardine Dohrn of the Weathermen, and Jim and Artie Mitchell, the founders of the world-famous O’Farrell Theater in San Francisco’s Tenderloin district. Kennedy began working with the brothers in early ’70s, defending them against obscenity charges brought by the city of San Francisco — the brothers would be arrested close to 200 times during this period. Decades later, in 1991, Kennedy would defend Jim Mitchell against charges that he killed his brother Artie while in a drunken rage; Kennedy succeeded in reducing the charge from murder in the second degree to manslaughter.\u003c/p>\n\u003cp>“When you think about progressive defense attorneys in San Francisco in the 1970s, no name looms larger than that of Michael Kennedy,” Senior Editor for KQED News and former \u003cem>Rolling Stone\u003c/em> reporter David Weir says. “He was involved in big case after big case and my impression is that he won the overwhelming majority of them. He was a really scrappy lawyer in court, devoted to his clients, a good friend to many people (including me), the host of radical chic parties, and inside, a man with a big heart.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the end of the ’70s, Kennedy had moved to New York and would go on to work for \u003ca href=\"http://www.celebstoner.com/news/marijuana-news/2016/01/25/high-times-chairman-michael-kennedy-dies/\" target=\"_blank\" rel=\"noopener\">High Times publisher Tom Forcade\u003c/a>, New York mob boss Gaetano Badalamenti and even Ivana Trump. He even made an appearance in the HBO documentary miniseries \u003ci>The Jinx: The Life and Deaths of Robert Durst\u003c/i>, as he also represented Durst’s brother, Douglas Durst, and the Durst Organization.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.legacy.com/obituaries/nytimes/obituary.aspx?n=michael-kennedy&pid=177447859&fhid=2058\" target=\"_blank\" rel=\"noopener\">Kennedy died Monday morning\u003c/a> from an unspecified illness at Memorial Sloan Kettering Hospital in New York. His funeral has been scheduled for this Friday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The free-speech organization PEN American Center says it is giving its 2016 PEN/Allen award to author J.K. Rowling. The prize honors “a critically acclaimed author whose work embodies its mission to oppose repression in any form and to champion the best of humanity.”\u003c/p>\n\u003cp>In particular, the award recognizes Rowling’s two charitable foundations — \u003ca href=\"https://www.volanttrust.com/\" target=\"_blank\" rel=\"noopener\">Volant\u003c/a>, which works to alleviate poverty and social deprivation, especially among women and children, and \u003ca href=\"http://wearelumos.org/about\" target=\"_blank\" rel=\"noopener\">Lumos\u003c/a>, which helps institutionalized children return to family life.\u003c/p>\n\u003cp>Rowling is a frequent target of censorship. In 2006, the American Library Association named her \u003ca href=\"http://www.ala.org/news/news/pressreleases2006/september2006/harrypottermostchallenge\" target=\"_blank\" rel=\"noopener\">the most challenged author of the 21st century\u003c/a>.\u003c/p>\n\u003cp>“I’m deeply honored to receive this award and humbled that my work has been recognized as having moral value by an organization I so admire,” Rowling \u003ca href=\"http://bigstory.ap.org/article/232fc18709de421d828631bef39b19bd/jk-rowling-receive-pen-award-literary-service\" target=\"_blank\" rel=\"noopener\">told The Associated Press.\u003c/a>\u003c/p>\n\u003cp>“Through her writing, Rowling engenders imagination, empathy, humor, and a love of reading, along the way revealing moral choices that help us better understand ourselves,” PEN American President Andrew Solomon said in a statement. “Through their experiences with Rowling both on and off the page, countless children have learned not only the power of speaking their own minds, but the critical importance of hearing others.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Past winners include Salman Rushdie, Toni Morrison and Margaret Atwood. PEN is also honoring Hachette Book Group CEO \u003ca href=\"http://www.npr.org/2013/02/05/171164095/why-traditional-publishing-is-really-in-a-golden-age\" target=\"_blank\" rel=\"noopener\">Michael Pietsch\u003c/a>. Pietsch joined with several other publishers last year in \u003ca href=\"http://worldvoices.pen.org/blog/publishers%E2%80%99-pledge-chinese-censorship-translated-works\" target=\"_blank\" rel=\"noopener\">an informal pledge to combat censorship of translated books in China\u003c/a>. Hachette also published the \u003ca href=\"http://www.npr.org/2016/01/02/461754069/charlie-hebdo-the-licensed-anarchist-clowns-of-french-society\" target=\"_blank\" rel=\"noopener\">posthumous manifesto\u003c/a> \u003cem>Open Letter: On Blasphemy, Islamophobia, and the True Enemies of Free Expression\u003c/em> by \u003cem>Charlie Hebdo\u003c/em> editor Stephane Charbonnier, who died in the terrorist attack on the French satirical magazine last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both prizes will be handed out at PEN’s annual literary gala in May. Last year, \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/04/27/402541818/6-novelists-withdraw-from-event-honoring-charlie-hebdo-for-free-speech\" target=\"_blank\" rel=\"noopener\">six authors withdrew\u003c/a> from the gala and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/27/402541818/6-novelists-withdraw-from-event-honoring-charlie-hebdo-for-free-speech\" target=\"_blank\" rel=\"noopener\">more than 150 signed an open letter\u003c/a> of protest after PEN gave \u003cem>Charlie Hebdo\u003c/em> its annual Freedom of Expression Courage Award. \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=PEN+American+Center+Awards+Free-Speech+Prize+To+J.K.+Rowling+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The free-speech organization PEN American Center says it is giving its 2016 PEN/Allen award to author J.K. Rowling. The prize honors “a critically acclaimed author whose work embodies its mission to oppose repression in any form and to champion the best of humanity.”\u003c/p>\n\u003cp>In particular, the award recognizes Rowling’s two charitable foundations — \u003ca href=\"https://www.volanttrust.com/\" target=\"_blank\" rel=\"noopener\">Volant\u003c/a>, which works to alleviate poverty and social deprivation, especially among women and children, and \u003ca href=\"http://wearelumos.org/about\" target=\"_blank\" rel=\"noopener\">Lumos\u003c/a>, which helps institutionalized children return to family life.\u003c/p>\n\u003cp>Rowling is a frequent target of censorship. In 2006, the American Library Association named her \u003ca href=\"http://www.ala.org/news/news/pressreleases2006/september2006/harrypottermostchallenge\" target=\"_blank\" rel=\"noopener\">the most challenged author of the 21st century\u003c/a>.\u003c/p>\n\u003cp>“I’m deeply honored to receive this award and humbled that my work has been recognized as having moral value by an organization I so admire,” Rowling \u003ca href=\"http://bigstory.ap.org/article/232fc18709de421d828631bef39b19bd/jk-rowling-receive-pen-award-literary-service\" target=\"_blank\" rel=\"noopener\">told The Associated Press.\u003c/a>\u003c/p>\n\u003cp>“Through her writing, Rowling engenders imagination, empathy, humor, and a love of reading, along the way revealing moral choices that help us better understand ourselves,” PEN American President Andrew Solomon said in a statement. “Through their experiences with Rowling both on and off the page, countless children have learned not only the power of speaking their own minds, but the critical importance of hearing others.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Past winners include Salman Rushdie, Toni Morrison and Margaret Atwood. PEN is also honoring Hachette Book Group CEO \u003ca href=\"http://www.npr.org/2013/02/05/171164095/why-traditional-publishing-is-really-in-a-golden-age\" target=\"_blank\" rel=\"noopener\">Michael Pietsch\u003c/a>. Pietsch joined with several other publishers last year in \u003ca href=\"http://worldvoices.pen.org/blog/publishers%E2%80%99-pledge-chinese-censorship-translated-works\" target=\"_blank\" rel=\"noopener\">an informal pledge to combat censorship of translated books in China\u003c/a>. Hachette also published the \u003ca href=\"http://www.npr.org/2016/01/02/461754069/charlie-hebdo-the-licensed-anarchist-clowns-of-french-society\" target=\"_blank\" rel=\"noopener\">posthumous manifesto\u003c/a> \u003cem>Open Letter: On Blasphemy, Islamophobia, and the True Enemies of Free Expression\u003c/em> by \u003cem>Charlie Hebdo\u003c/em> editor Stephane Charbonnier, who died in the terrorist attack on the French satirical magazine last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both prizes will be handed out at PEN’s annual literary gala in May. Last year, \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/04/27/402541818/6-novelists-withdraw-from-event-honoring-charlie-hebdo-for-free-speech\" target=\"_blank\" rel=\"noopener\">six authors withdrew\u003c/a> from the gala and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/27/402541818/6-novelists-withdraw-from-event-honoring-charlie-hebdo-for-free-speech\" target=\"_blank\" rel=\"noopener\">more than 150 signed an open letter\u003c/a> of protest after PEN gave \u003cem>Charlie Hebdo\u003c/em> its annual Freedom of Expression Courage Award. \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=PEN+American+Center+Awards+Free-Speech+Prize+To+J.K.+Rowling+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The term “pop music” is a 20th century invention — it originated in England in the 1950s to describe the rock and roll frenzy that was sweeping the nation. One of the many inspired things about the first part of New York drag artist Taylor Mac’s lunatic-brilliant \u003cem>A 24-Decade History of Popular Music\u003c/em> is how it reminds us that pop music in this country is actually much older than that. Another, is a sense that the greatest hits of the 1770s and 1780s — the tunes that rocked the taverns and bawdy houses of our fledgling republic back in the days when England was pretty unpopular and a mohawk was a member of a native American tribe rather than a way to wear your hair — could easily go viral today.\u003c/p>\n\u003cp>Mac is training for a 24-hour marathon performance of his \u003cem>A 24-Decade History of Popular Music\u003c/em> in New York the weekend of Oct. 8 – 9, in which he will devote an hour of stage time to each decade from 1776 to the present day. For now, he’s getting into shape for this feat by undertaking just the first two parts — or six decades / six hours worth of songs — in San Francisco as part of the Curran Theatre’s \u003cem>Under Construction\u003c/em> series of experimental performance. I caught the first three decades (1776 – 1806) on opening night and can’t wait to go back for Part Two (1806 – 1836) in a few days.\u003c/p>\n\u003cp>The productions featured in \u003cem>Under Construction\u003c/em> seat the audience on stage close to the performer. In his show, Mac first appears on a balcony above the Curran’s orchestra section, looking down at us from afar. Wearing an elaborate hooped dress fashioned from brightly-colored foil ribbons and a voluminous wig that makes him look like Marie Antoinette had an accident in a Mexican bodega, the artist begins an epic journey through 240 years of U.S. musical history that’s as timeless as it is prescient.\u003c/p>\n\u003cp>That’s in part because of music director and pianist Matt Ray’s creative song arrangements, which make crusty old tunes like “Yankee Doodle” and “Amazing Grace” sound like like they were written just in time for this year’s Grammys. The performances carry it too: Although the show is currently in workshop mode, with Mac, Ray and the band still ironing out a few wonky transitions, the team manages to breathe new life into both well-known and obscure 18th century ditties. And it’s Mac’s mercurial tenor that anchors the experience: the drag queen’s voice is as colorful as his flamboyant sense of style. There’s crushed velvet and feathers in Mac’s mellifluous ballad singing and 8-inch spiked heels in his drinking song belt.\u003c/p>\n\u003cfigure id=\"attachment_11273116\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg\" alt=\"Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1920x1227.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction \u003ccite>(Photo: Jim Norrena / Courtesy Curran: Under Construction )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t just the music that makes three hours of sitting on an uncomfortable plastic chair on a rickety riser breeze by, or Mac’s eye-popping wardrobe. (In addition to the gaudy get-up mentioned above, there’s an “architectural” dress involving a pair of enormous doric columns, each with a plastic doll’s head dangling from the bottom, and another costume topped with an amazing wig made of wine bottle corks and sheaths of barley.) The thematic through-line connecting the musical numbers also helps to take \u003cem>A 24-Decade History of Popular Music\u003c/em> beyond regular drag cabaret.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mac underpins each decade of the musical journey with commentaries on broad social issues, which he spices with liberal amounts of scathing humor and personal anecdote. The first decade roughly and comically charts the founding principles of post-Revolutionary U.S.. In the second decade, Mac takes a piquant look at women’s lib. Part Three is all about booze, where the ripe innuendos of raucous drinking songs like “Nine Inch Will Please a Lady” clash against the stiff, bonneted warblings of a scandalized Temperance Choir (a small guest ensemble of classically-trained singers.) By the time we reach the end of the show, the do-gooder choristers get their comeuppance, pelted in a hailstorm of ping-pong balls. In addition to having fun with a piece of political history, the gambit neatly plays out a more contemporary stand-off between the scrappy, underground world of drag performance and the straight-laced mores of today’s arts establishment. Here, the political becomes personal, as Mac himself has been faced with negotiating these two worlds in his own career.\u003c/p>\n\u003cp>The socio-political content at times feels a little strained, like when Mac spins a long feminist diatribe out of a mopey little ditty about a young woman fretting about why her beau hasn’t come home from the fair. But Mac’s ability to work the crowd, in particular his obsessive, sweetly overbearing use of audience participation, mitigates this shortcoming. He makes this otherwise sprawling historical project feel intimate and personal.\u003c/p>\n\u003cp>Mac’s insistence on bringing the crowd into the proceedings might seem tiresome and gimmicky to some — one person complained to me about being pulled into a conga line and forced to wear a pair of fairy wings. But overdoing it, going over-the-top, “carrying on for just a bit too long,” as Mac himself puts it, is part of his stage technique. It’s there to make a broader point about just how topsy-turvy the world is. And like an old song that’s so familiar that it’s stuck in all of our heads, we’re all in this thing together, like it or not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Taylor Mac’s A 24-Decade History of Popular Music\u003cstrong> \u003c/strong>runs through Saturday, Jan. 30 at the Curran Theatre in San Francisco. \u003ca href=\"http://sfcurran.com/event/a-24-decade-history-of-popular-music/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. You can also hear Mac speak on \u003ca href=\"http://www.kqed.org/a/forum/R201601191030\" target=\"_blank\" rel=\"noopener\">KQED’s Forum about his show\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The term “pop music” is a 20th century invention — it originated in England in the 1950s to describe the rock and roll frenzy that was sweeping the nation. One of the many inspired things about the first part of New York drag artist Taylor Mac’s lunatic-brilliant \u003cem>A 24-Decade History of Popular Music\u003c/em> is how it reminds us that pop music in this country is actually much older than that. Another, is a sense that the greatest hits of the 1770s and 1780s — the tunes that rocked the taverns and bawdy houses of our fledgling republic back in the days when England was pretty unpopular and a mohawk was a member of a native American tribe rather than a way to wear your hair — could easily go viral today.\u003c/p>\n\u003cp>Mac is training for a 24-hour marathon performance of his \u003cem>A 24-Decade History of Popular Music\u003c/em> in New York the weekend of Oct. 8 – 9, in which he will devote an hour of stage time to each decade from 1776 to the present day. For now, he’s getting into shape for this feat by undertaking just the first two parts — or six decades / six hours worth of songs — in San Francisco as part of the Curran Theatre’s \u003cem>Under Construction\u003c/em> series of experimental performance. I caught the first three decades (1776 – 1806) on opening night and can’t wait to go back for Part Two (1806 – 1836) in a few days.\u003c/p>\n\u003cp>The productions featured in \u003cem>Under Construction\u003c/em> seat the audience on stage close to the performer. In his show, Mac first appears on a balcony above the Curran’s orchestra section, looking down at us from afar. Wearing an elaborate hooped dress fashioned from brightly-colored foil ribbons and a voluminous wig that makes him look like Marie Antoinette had an accident in a Mexican bodega, the artist begins an epic journey through 240 years of U.S. musical history that’s as timeless as it is prescient.\u003c/p>\n\u003cp>That’s in part because of music director and pianist Matt Ray’s creative song arrangements, which make crusty old tunes like “Yankee Doodle” and “Amazing Grace” sound like like they were written just in time for this year’s Grammys. The performances carry it too: Although the show is currently in workshop mode, with Mac, Ray and the band still ironing out a few wonky transitions, the team manages to breathe new life into both well-known and obscure 18th century ditties. And it’s Mac’s mercurial tenor that anchors the experience: the drag queen’s voice is as colorful as his flamboyant sense of style. There’s crushed velvet and feathers in Mac’s mellifluous ballad singing and 8-inch spiked heels in his drinking song belt.\u003c/p>\n\u003cfigure id=\"attachment_11273116\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg\" alt=\"Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1920x1227.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction \u003ccite>(Photo: Jim Norrena / Courtesy Curran: Under Construction )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t just the music that makes three hours of sitting on an uncomfortable plastic chair on a rickety riser breeze by, or Mac’s eye-popping wardrobe. (In addition to the gaudy get-up mentioned above, there’s an “architectural” dress involving a pair of enormous doric columns, each with a plastic doll’s head dangling from the bottom, and another costume topped with an amazing wig made of wine bottle corks and sheaths of barley.) The thematic through-line connecting the musical numbers also helps to take \u003cem>A 24-Decade History of Popular Music\u003c/em> beyond regular drag cabaret.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mac underpins each decade of the musical journey with commentaries on broad social issues, which he spices with liberal amounts of scathing humor and personal anecdote. The first decade roughly and comically charts the founding principles of post-Revolutionary U.S.. In the second decade, Mac takes a piquant look at women’s lib. Part Three is all about booze, where the ripe innuendos of raucous drinking songs like “Nine Inch Will Please a Lady” clash against the stiff, bonneted warblings of a scandalized Temperance Choir (a small guest ensemble of classically-trained singers.) By the time we reach the end of the show, the do-gooder choristers get their comeuppance, pelted in a hailstorm of ping-pong balls. In addition to having fun with a piece of political history, the gambit neatly plays out a more contemporary stand-off between the scrappy, underground world of drag performance and the straight-laced mores of today’s arts establishment. Here, the political becomes personal, as Mac himself has been faced with negotiating these two worlds in his own career.\u003c/p>\n\u003cp>The socio-political content at times feels a little strained, like when Mac spins a long feminist diatribe out of a mopey little ditty about a young woman fretting about why her beau hasn’t come home from the fair. But Mac’s ability to work the crowd, in particular his obsessive, sweetly overbearing use of audience participation, mitigates this shortcoming. He makes this otherwise sprawling historical project feel intimate and personal.\u003c/p>\n\u003cp>Mac’s insistence on bringing the crowd into the proceedings might seem tiresome and gimmicky to some — one person complained to me about being pulled into a conga line and forced to wear a pair of fairy wings. But overdoing it, going over-the-top, “carrying on for just a bit too long,” as Mac himself puts it, is part of his stage technique. It’s there to make a broader point about just how topsy-turvy the world is. And like an old song that’s so familiar that it’s stuck in all of our heads, we’re all in this thing together, like it or not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Taylor Mac’s A 24-Decade History of Popular Music\u003cstrong> \u003c/strong>runs through Saturday, Jan. 30 at the Curran Theatre in San Francisco. \u003ca href=\"http://sfcurran.com/event/a-24-decade-history-of-popular-music/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. You can also hear Mac speak on \u003ca href=\"http://www.kqed.org/a/forum/R201601191030\" target=\"_blank\" rel=\"noopener\">KQED’s Forum about his show\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If there’s any time to appreciate football-focused art, it’s \u003cem>right now,\u003c/em> as Super Bowl 50 approaches. So a South Bay art gallery is capitalizing on the excitement over the “big game” to feature artists whose work hangs at Levi’s Stadium, where this year’s Super Bowl will be hosted.\u003c/p>\n\u003cp>JCO’s Place in Los Gatos opened the new exhibition called \u003ca href=\"http://www.jcosplace.com/nfl.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Art of the NFL\u003c/em>\u003c/a>, on Jan. 12. The idea for it came about last year when the’s gallery owner, Julie Jenkins, visited Levi’s Stadium and was “totally floored” by the art collection on the upper decks, according to Bridget McMahon, the gallery’s director. The work had been collected and installed in the stadium by a curatorial agency called \u003ca href=\"http://www.sportart.net/\" target=\"_blank\" rel=\"noopener\">Sports & the Arts\u003c/a>, who commissioned more than 100 pieces of art for the stadium that celebrated the 49ers specifically, and also a general love of the game.\u003c/p>\n\u003cp>“So we partnered with Sports & the Arts,” McMahon says, “and had some of their artists make some pieces in that same vein for us.”\u003c/p>\n\u003cp>The JCO’s Place exhibit features six artists whose work is up at the stadium. About half the pieces are replicas of what’s in Levi’s, including a California flag collage made with 49ers memorabilia by artist \u003ca href=\"http://derekgores.com/\" target=\"_blank\" rel=\"noopener\">Derek Gores\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11267638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11267638 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-800x454.jpg\" alt=\"Nick Brown • Dreamcatcher • 24 X 42 • Oil on Panel\" width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-400x227.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut.jpg 931w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Brown • Dreamcatcher • 24 X 42 • Oil on Panel \u003ccite>(Courtesy JCO's Place)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local artists are featured prominently, including \u003ca href=\"http://www.gordonsmedt.com/\" target=\"_blank\" rel=\"noopener\">Gordon Smedt\u003c/a>, \u003ca href=\"http://www.milton510.com/\" target=\"_blank\" rel=\"noopener\">Milton Bowens\u003c/a>, \u003ca href=\"http://www.rwagnerart.com/\" target=\"_blank\" rel=\"noopener\">Russ Wagner\u003c/a> and \u003ca href=\"http://nickbrownart.com\" target=\"_blank\" rel=\"noopener\">Nick Brown\u003c/a>. Brown was born and raised in central California, and he has more than 14 oil paintings in the Levi’s Stadium collection. His oil painting “Dreamcatcher” depicts \u003ca href=\"https://en.wikipedia.org/wiki/The_Catch_(American_football)\" target=\"_blank\" rel=\"noopener\">Dwight Clark’s legendary 1982 NFC Championship game catch\u003c/a>, relocated to a dreamscape of yellow grass and rolling green hills.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I grew up playing tons of sports, and I played football all the way through college,” says Brown. “We grew up loving the Niners and the Giants.” His dad was at the game when Clark made the catch. When JCO called, that moment was the first idea that came to mind.\u003c/p>\n\u003cp>Brown wanted to evoke the simplicity of a pickup game, but there was nothing slap dash about the painting. He watched videos of the play “over and over and over.” He pressed family members who played football into posing.\u003c/p>\n\u003cp>For the landscape, Brown picked a spot he’s photographed repeatedly while driving north of the Grapevine on Interstate 5, heightening the colors to approximate the green of the after a rain has soaked the hills.\u003c/p>\n\u003cp>Brown and his parents got meet the former wide receiver at a January 14 reception at JCO’s introducing the exhibit. “It was everything and more than I could have dreamed of,” says Brown. “It was kind of surreal.” Clark even drew out the play on the back of the painting.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/243825916″ 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>McMahon says she’s spotted some local high school football players wandering through the gallery in recent days.\u003c/p>\n\u003cp>“We designed this exhibition to engage everyone from the casual football fan to the hardcore football aficionado, from the art lover to the art collector,” McMahon says. “It’s been interesting to have people come in who might not necessarily stop into an art gallery.”\u003c/p>\n\u003cp>“The assumption that you have about football art – or sports art in general – is that it’s going to be totally cheesy, right?” McMahon says. “But you have artists making innovative and interesting works that really celebrate the game by highlighting some aspects of it that you don’t typically see.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The exhibit continues through – when else? Feb. 7, the day of the Big Game.\u003c/p>\n\u003cfigure id=\"attachment_11267745\" class=\"wp-caption aligncenter\" style=\"max-width: 671px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11267745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-671x600.jpg\" alt=\"Gordon Smedt • End Zone • 48 X 54 • Oil on Canvas\" width=\"671\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-671x600.jpg 671w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-400x358.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-768x686.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut.jpg 895w\" sizes=\"(max-width: 671px) 100vw, 671px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Smedt • End Zone • 48 X 54 • Oil on Canvas \u003ccite>(Courtesy JCO's Place)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s any time to appreciate football-focused art, it’s \u003cem>right now,\u003c/em> as Super Bowl 50 approaches. So a South Bay art gallery is capitalizing on the excitement over the “big game” to feature artists whose work hangs at Levi’s Stadium, where this year’s Super Bowl will be hosted.\u003c/p>\n\u003cp>JCO’s Place in Los Gatos opened the new exhibition called \u003ca href=\"http://www.jcosplace.com/nfl.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Art of the NFL\u003c/em>\u003c/a>, on Jan. 12. The idea for it came about last year when the’s gallery owner, Julie Jenkins, visited Levi’s Stadium and was “totally floored” by the art collection on the upper decks, according to Bridget McMahon, the gallery’s director. The work had been collected and installed in the stadium by a curatorial agency called \u003ca href=\"http://www.sportart.net/\" target=\"_blank\" rel=\"noopener\">Sports & the Arts\u003c/a>, who commissioned more than 100 pieces of art for the stadium that celebrated the 49ers specifically, and also a general love of the game.\u003c/p>\n\u003cp>“So we partnered with Sports & the Arts,” McMahon says, “and had some of their artists make some pieces in that same vein for us.”\u003c/p>\n\u003cp>The JCO’s Place exhibit features six artists whose work is up at the stadium. About half the pieces are replicas of what’s in Levi’s, including a California flag collage made with 49ers memorabilia by artist \u003ca href=\"http://derekgores.com/\" target=\"_blank\" rel=\"noopener\">Derek Gores\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11267638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11267638 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-800x454.jpg\" alt=\"Nick Brown • Dreamcatcher • 24 X 42 • Oil on Panel\" width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-400x227.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18190_TheCatch-qut.jpg 931w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Brown • Dreamcatcher • 24 X 42 • Oil on Panel \u003ccite>(Courtesy JCO's Place)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local artists are featured prominently, including \u003ca href=\"http://www.gordonsmedt.com/\" target=\"_blank\" rel=\"noopener\">Gordon Smedt\u003c/a>, \u003ca href=\"http://www.milton510.com/\" target=\"_blank\" rel=\"noopener\">Milton Bowens\u003c/a>, \u003ca href=\"http://www.rwagnerart.com/\" target=\"_blank\" rel=\"noopener\">Russ Wagner\u003c/a> and \u003ca href=\"http://nickbrownart.com\" target=\"_blank\" rel=\"noopener\">Nick Brown\u003c/a>. Brown was born and raised in central California, and he has more than 14 oil paintings in the Levi’s Stadium collection. His oil painting “Dreamcatcher” depicts \u003ca href=\"https://en.wikipedia.org/wiki/The_Catch_(American_football)\" target=\"_blank\" rel=\"noopener\">Dwight Clark’s legendary 1982 NFC Championship game catch\u003c/a>, relocated to a dreamscape of yellow grass and rolling green hills.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I grew up playing tons of sports, and I played football all the way through college,” says Brown. “We grew up loving the Niners and the Giants.” His dad was at the game when Clark made the catch. When JCO called, that moment was the first idea that came to mind.\u003c/p>\n\u003cp>Brown wanted to evoke the simplicity of a pickup game, but there was nothing slap dash about the painting. He watched videos of the play “over and over and over.” He pressed family members who played football into posing.\u003c/p>\n\u003cp>For the landscape, Brown picked a spot he’s photographed repeatedly while driving north of the Grapevine on Interstate 5, heightening the colors to approximate the green of the after a rain has soaked the hills.\u003c/p>\n\u003cp>Brown and his parents got meet the former wide receiver at a January 14 reception at JCO’s introducing the exhibit. “It was everything and more than I could have dreamed of,” says Brown. “It was kind of surreal.” Clark even drew out the play on the back of the painting.\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/243825916″&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/243825916″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>McMahon says she’s spotted some local high school football players wandering through the gallery in recent days.\u003c/p>\n\u003cp>“We designed this exhibition to engage everyone from the casual football fan to the hardcore football aficionado, from the art lover to the art collector,” McMahon says. “It’s been interesting to have people come in who might not necessarily stop into an art gallery.”\u003c/p>\n\u003cp>“The assumption that you have about football art – or sports art in general – is that it’s going to be totally cheesy, right?” McMahon says. “But you have artists making innovative and interesting works that really celebrate the game by highlighting some aspects of it that you don’t typically see.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The exhibit continues through – when else? Feb. 7, the day of the Big Game.\u003c/p>\n\u003cfigure id=\"attachment_11267745\" class=\"wp-caption aligncenter\" style=\"max-width: 671px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11267745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-671x600.jpg\" alt=\"Gordon Smedt • End Zone • 48 X 54 • Oil on Canvas\" width=\"671\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-671x600.jpg 671w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-400x358.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut-768x686.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18193_3681008_orig-qut.jpg 895w\" sizes=\"(max-width: 671px) 100vw, 671px\">\u003cfigcaption class=\"wp-caption-text\">Gordon Smedt • End Zone • 48 X 54 • Oil on Canvas \u003ccite>(Courtesy JCO's Place)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before he moved to Portland near the end of 2015, multi-instrumentalist Ralph Carney set up a temporary studio in the basement of his apartment near San Francisco’s Golden Gate Park. It was probably originally intended for storing tools or Christmas decorations, but Carney crammed the tiny space with instruments and recording equipment.\u003c/p>\n\u003cp>Carney was frenetic as he walked around that studio, showing me his setup during an interview late last year. It was just like one of his sax solos: he practically hopped from one instrument to the next, performing in bursts.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/247946991″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>If you have good taste in music, Carney is probably all over your collection. He’s played with artists as diverse as Tom Waits and the B-52s. If you were alive in the ’80s, you heard his distinctive solo on the Waitresses’ “I Know what Boys Like.”\u003c/p>\n\u003cp>“I recorded it like three weeks before I moved out of New York, and I had a really bad sinus infection,” Carney says. “They kept going, ‘Do another one man, you almost got it.’ And I’d be like, ‘BLAH!’ Because I was pissed off. It came off like, ‘rat neh neh neh.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qAp9aiDXM5g\u003c/p>\n\u003cp>Carney was asked to join the band — the group’s leader, Chris Butler, had played with Carney in the Akron-based punk band Tin Huey — but he turned down the offer. \u003c/p>\n\u003cp>“So Mars Williams took the gig [with the Waitresses] and they did a video with Mars lip-syncing my solo,” Carney says. “I was so upset. ‘That’s me — he’s going to get all the wealth!’” (Carney now laughs at the thought, and says he and Williams have been good friends for years.) \u003c/p>\n\u003cp>[contextly_sidebar id=”RS2fT0vSfkNclT7GZggyJ5mO0i0LGe5d”]\u003c/p>\n\u003cp>In recent years, Carney’s main income has come from playing gigs at local restaurants, as well as recordings he’s made at home. There in the dark apartment studio is where he recorded parts for the soundtrack to the Netflix series \u003cem>Bojack Horseman\u003c/em>, songs he wrote with his nephew, Patrick Carney of the Black Keys. It’s also where he recorded the bass sax part that would become the backbone of St. Vincent’s 2014 single, “Digital Witness.” (Carney’s sax was sampled for the keyboard riff on this track.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mVAxUMuhz98\u003c/p>\n\u003cp>But the majority of his home studio recordings have been self-released — including a piece that he now considers one of the best songs he’s ever written. It came to him after a moment of tragedy: the \u003ca href=\"https://en.wikipedia.org/wiki/Charleston_church_shooting\" target=\"_blank\" rel=\"noopener\">Charleston Church Massacre\u003c/a>, which took place on the evening of June 17, 2015, when a gunman killed nine people at the Emanuel African Methodist Episcopal Church, including the church’s senior pastor.\u003c/p>\n\u003cp>“I was watching the news and when they arraigned the guy, the victims’ families were there, and they were all like, ‘I forgive you,’” Carney says. “I just lost it. I was crying, and I was thinking about John Coltrane’s ‘Alabama.’”\u003c/p>\n\u003cp>Coltrane wrote the song “Alabama” in response to the 1963 bombing of a Birmingham church by the Ku Klux Klan, an attack that killed four young girls. Wordless, the sorrow Coltrane felt from the tragedy is palpable in his playing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5cnIZ826ZVE\u003c/p>\n\u003cp>“People are always saying I post that song [on social media] too much, because I’m always posting it after a tragedy,” Carney says.\u003c/p>\n\u003cp>With a face full of tears and Coltrane stuck in his head, Carney went downstairs and began playing.\u003c/p>\n\u003cp>“I was just in a trance and I got my bass sax, which is pretty big, and I recorded a thing. It was just going to be a bass sax, but then I was like, ‘let me just add baritone’…and I just went from there,” Carney says. “I played the whole family of saxophones until I got to the highest one, and then I was like, ‘Oh, this is pretty good.'” He laughs.\u003c/p>\n\u003cp>When Carney was happy with the final product, a three-minute track called “Lament for Charleston,” he did what he usually does with his own songs: he posted it on his \u003ca href=\"https://ralphcarney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp page\u003c/a> and shared it on Facebook.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uwZICH_pyBM\u003c/p>\n\u003cp>“I post tons of my music and I get, ‘Hey, that was pretty cool.’ But this time the reaction was immediate,” he says.\u003c/p>\n\u003cp>The song hit a nerve in a lot of people, including Carney’s old friend, the \u003ca href=\"http://www.davidcoulter.co.uk/about/\" target=\"_blank\" rel=\"noopener\">British multi-instrumentalist David Coulter\u003c/a>.\u003c/p>\n\u003cp>“I cried after hearing it,” says Coulter. “It was this amazingly, overwhelmingly beautiful and moving piece that was just like this big scream, and it just kinda said everything that I was thinking and couldn’t put into words.”\u003c/p>\n\u003cp>Coulter knew other people had to hear this composition, and passed it on to his friend David Harrington. Harrington is the founder of the Grammy Award-winning Kronos Quartet — probably one of the most recognizable groups in the world of classical music — and much of what Kronos plays comes from outside composers, sources that vary from Philip Glass to Jimi Hendrix.\u003c/p>\n\u003cp>“Since 1973, Kronos has worked closely with composers,” Harrington says. “I can’t tell you where the next piece might come from and I don’t want to know. What I want to do is have Kronos ready for music that we feel we need to jump into, that our audience has to hear.”\u003c/p>\n\u003cp>At the time Carney released “Lament,” the quartet was preparing for the \u003ca href=\"http://ww2.kqed.org/arts/2015/06/30/live-review-terry-riley-festival-with-kronos-quartet-at-sfjazz-center/\" target=\"_blank\" rel=\"noopener\">Terry Riley Festival at SF Jazz\u003c/a>, a series of sold-out concerts attended by thousands, and what Harrington describes as the biggest event Kronos had ever worked on. But after Coulter played the track for Harrington, the world-renowned violinist wanted to jump on it right away. After receiving permission from Carney, Harrington asked a composer to work overnight to arrange a version for the quartet to play at the festival.\u003c/p>\n\u003cp>That plan shifted slightly — the arrangement was ready in time, but “we didn’t have the brain cells available to do it at the Riley Festival” in the end, says Harrington.\u003c/p>\n\u003cfigure id=\"attachment_11268314\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11268314\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg\" alt=\"Ralph Carney, 2015\" width=\"413\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-400x582.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP.jpg 599w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney, 2015 \u003ccite>(Photo: Dennis Hearne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, the quartet prepared the piece for the Cabrillo Festival of Contemporary Music in Santa Cruz. And this time, they invited Carney to join their rehearsal.\u003c/p>\n\u003cp>After running through the song twice, Harrington asked if Carney would join them onstage at the festival to play their version of his composition.\u003c/p>\n\u003cp>“I was really surprised I didn’t cry when I was doing it,” Carney says.\u003c/p>\n\u003cp>Since that performance, Carney has moved to Portland, thanks to the rising cost of living in San Francisco. But his experience playing with Kronos was a perfect sendoff, he says, after living in the city for 28 years. Carney says he’s known the feeling of validation before, but that moment onstage was unlike any other experience: It wasn’t just a job. He had written a song to combat the sadness that followed a national tragedy — and people not only wanted to hear it, they wanted it to be heard.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And then there’s this: Carney, who turns 60 on Jan. 23, says writing “Lament for Charleston” fundamentally changed the way he composes music. Instead of crafting each note, he improvises completely, letting his heart write the song.\u003c/p>\n\n",
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"excerpt": "On his 60th birthday, the multi-instrumentalist explains how the Charleston Church Massacre inspired one of his most powerful compositions. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before he moved to Portland near the end of 2015, multi-instrumentalist Ralph Carney set up a temporary studio in the basement of his apartment near San Francisco’s Golden Gate Park. It was probably originally intended for storing tools or Christmas decorations, but Carney crammed the tiny space with instruments and recording equipment.\u003c/p>\n\u003cp>Carney was frenetic as he walked around that studio, showing me his setup during an interview late last year. It was just like one of his sax solos: he practically hopped from one instrument to the next, performing in bursts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/247946991″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/247946991″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>If you have good taste in music, Carney is probably all over your collection. He’s played with artists as diverse as Tom Waits and the B-52s. If you were alive in the ’80s, you heard his distinctive solo on the Waitresses’ “I Know what Boys Like.”\u003c/p>\n\u003cp>“I recorded it like three weeks before I moved out of New York, and I had a really bad sinus infection,” Carney says. “They kept going, ‘Do another one man, you almost got it.’ And I’d be like, ‘BLAH!’ Because I was pissed off. It came off like, ‘rat neh neh neh.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qAp9aiDXM5g'\n title='//www.youtube.com/embed/qAp9aiDXM5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Carney was asked to join the band — the group’s leader, Chris Butler, had played with Carney in the Akron-based punk band Tin Huey — but he turned down the offer. \u003c/p>\n\u003cp>“So Mars Williams took the gig [with the Waitresses] and they did a video with Mars lip-syncing my solo,” Carney says. “I was so upset. ‘That’s me — he’s going to get all the wealth!’” (Carney now laughs at the thought, and says he and Williams have been good friends for years.) \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In recent years, Carney’s main income has come from playing gigs at local restaurants, as well as recordings he’s made at home. There in the dark apartment studio is where he recorded parts for the soundtrack to the Netflix series \u003cem>Bojack Horseman\u003c/em>, songs he wrote with his nephew, Patrick Carney of the Black Keys. It’s also where he recorded the bass sax part that would become the backbone of St. Vincent’s 2014 single, “Digital Witness.” (Carney’s sax was sampled for the keyboard riff on this track.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mVAxUMuhz98'\n title='//www.youtube.com/embed/mVAxUMuhz98'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the majority of his home studio recordings have been self-released — including a piece that he now considers one of the best songs he’s ever written. It came to him after a moment of tragedy: the \u003ca href=\"https://en.wikipedia.org/wiki/Charleston_church_shooting\" target=\"_blank\" rel=\"noopener\">Charleston Church Massacre\u003c/a>, which took place on the evening of June 17, 2015, when a gunman killed nine people at the Emanuel African Methodist Episcopal Church, including the church’s senior pastor.\u003c/p>\n\u003cp>“I was watching the news and when they arraigned the guy, the victims’ families were there, and they were all like, ‘I forgive you,’” Carney says. “I just lost it. I was crying, and I was thinking about John Coltrane’s ‘Alabama.’”\u003c/p>\n\u003cp>Coltrane wrote the song “Alabama” in response to the 1963 bombing of a Birmingham church by the Ku Klux Klan, an attack that killed four young girls. Wordless, the sorrow Coltrane felt from the tragedy is palpable in his playing.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5cnIZ826ZVE'\n title='//www.youtube.com/embed/5cnIZ826ZVE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“People are always saying I post that song [on social media] too much, because I’m always posting it after a tragedy,” Carney says.\u003c/p>\n\u003cp>With a face full of tears and Coltrane stuck in his head, Carney went downstairs and began playing.\u003c/p>\n\u003cp>“I was just in a trance and I got my bass sax, which is pretty big, and I recorded a thing. It was just going to be a bass sax, but then I was like, ‘let me just add baritone’…and I just went from there,” Carney says. “I played the whole family of saxophones until I got to the highest one, and then I was like, ‘Oh, this is pretty good.'” He laughs.\u003c/p>\n\u003cp>When Carney was happy with the final product, a three-minute track called “Lament for Charleston,” he did what he usually does with his own songs: he posted it on his \u003ca href=\"https://ralphcarney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp page\u003c/a> and shared it on Facebook.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uwZICH_pyBM'\n title='//www.youtube.com/embed/uwZICH_pyBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I post tons of my music and I get, ‘Hey, that was pretty cool.’ But this time the reaction was immediate,” he says.\u003c/p>\n\u003cp>The song hit a nerve in a lot of people, including Carney’s old friend, the \u003ca href=\"http://www.davidcoulter.co.uk/about/\" target=\"_blank\" rel=\"noopener\">British multi-instrumentalist David Coulter\u003c/a>.\u003c/p>\n\u003cp>“I cried after hearing it,” says Coulter. “It was this amazingly, overwhelmingly beautiful and moving piece that was just like this big scream, and it just kinda said everything that I was thinking and couldn’t put into words.”\u003c/p>\n\u003cp>Coulter knew other people had to hear this composition, and passed it on to his friend David Harrington. Harrington is the founder of the Grammy Award-winning Kronos Quartet — probably one of the most recognizable groups in the world of classical music — and much of what Kronos plays comes from outside composers, sources that vary from Philip Glass to Jimi Hendrix.\u003c/p>\n\u003cp>“Since 1973, Kronos has worked closely with composers,” Harrington says. “I can’t tell you where the next piece might come from and I don’t want to know. What I want to do is have Kronos ready for music that we feel we need to jump into, that our audience has to hear.”\u003c/p>\n\u003cp>At the time Carney released “Lament,” the quartet was preparing for the \u003ca href=\"http://ww2.kqed.org/arts/2015/06/30/live-review-terry-riley-festival-with-kronos-quartet-at-sfjazz-center/\" target=\"_blank\" rel=\"noopener\">Terry Riley Festival at SF Jazz\u003c/a>, a series of sold-out concerts attended by thousands, and what Harrington describes as the biggest event Kronos had ever worked on. But after Coulter played the track for Harrington, the world-renowned violinist wanted to jump on it right away. After receiving permission from Carney, Harrington asked a composer to work overnight to arrange a version for the quartet to play at the festival.\u003c/p>\n\u003cp>That plan shifted slightly — the arrangement was ready in time, but “we didn’t have the brain cells available to do it at the Riley Festival” in the end, says Harrington.\u003c/p>\n\u003cfigure id=\"attachment_11268314\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11268314\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg\" alt=\"Ralph Carney, 2015\" width=\"413\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-400x582.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP.jpg 599w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney, 2015 \u003ccite>(Photo: Dennis Hearne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, the quartet prepared the piece for the Cabrillo Festival of Contemporary Music in Santa Cruz. And this time, they invited Carney to join their rehearsal.\u003c/p>\n\u003cp>After running through the song twice, Harrington asked if Carney would join them onstage at the festival to play their version of his composition.\u003c/p>\n\u003cp>“I was really surprised I didn’t cry when I was doing it,” Carney says.\u003c/p>\n\u003cp>Since that performance, Carney has moved to Portland, thanks to the rising cost of living in San Francisco. But his experience playing with Kronos was a perfect sendoff, he says, after living in the city for 28 years. Carney says he’s known the feeling of validation before, but that moment onstage was unlike any other experience: It wasn’t just a job. He had written a song to combat the sadness that followed a national tragedy — and people not only wanted to hear it, they wanted it to be heard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there’s this: Carney, who turns 60 on Jan. 23, says writing “Lament for Charleston” fundamentally changed the way he composes music. Instead of crafting each note, he improvises completely, letting his heart write the song.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pixar’s New App Gives the Blind a New Way to Experience Movies",
"headTitle": "Pixar’s New App Gives the Blind a New Way to Experience Movies | KQED",
"content": "\u003cp>While we all love going to the movies, the experience often becomes a huge challenge for the blind and low-vision community when the visual aids provided by theaters are broken (or can’t even be found). Fortunately, that may be about to change.\u003c/p>\n\u003cp>Pixar Studios is developing an app that syncs your \u003ca href=\"http://ww2.kqed.org/news/2016/01/23/pixar-new-app-gives-blind-new-way-to-experience-movies\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2016/01/23/pixar-new-app-gives-blind-new-way-to-experience-movies\" target=\"_blank\" title=\"Pixar’s New App Gives the Blind a New Way to Experience Movies\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>While we all love going to the movies, the experience often becomes a huge challenge for the blind and low-vision community when the visual aids provided by theaters are broken (or can't even be found). Fortunately, that may be about to change.\u003c/p>\n\u003cp>Pixar Studios is developing an app that syncs your \u003ca href=\"http://ww2.kqed.org/news/2016/01/23/pixar-new-app-gives-blind-new-way-to-experience-movies\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"description": "While we all love going to the movies, the experience often becomes a huge challenge for the blind and low-vision community when the visual aids provided by theaters are broken (or can't even be found). Fortunately, that may be about to change.\nPixar Studios is developing an app that syncs your ...read more",
"title": "Pixar’s New App Gives the Blind a New Way to Experience Movies | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While we all love going to the movies, the experience often becomes a huge challenge for the blind and low-vision community when the visual aids provided by theaters are broken (or can’t even be found). Fortunately, that may be about to change.\u003c/p>\n\u003cp>Pixar Studios is developing an app that syncs your \u003ca href=\"http://ww2.kqed.org/news/2016/01/23/pixar-new-app-gives-blind-new-way-to-experience-movies\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2016/01/23/pixar-new-app-gives-blind-new-way-to-experience-movies\" target=\"_blank\" title=\"Pixar’s New App Gives the Blind a New Way to Experience Movies\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Back in the early 1970s, a couple of UC Santa Cruz students wanted to take a class in letterpress book printing. There being no such class, SB Masters and Tom Whitridge lined up a potential teacher, respected San Francisco typographer Jack Stauffacher, and then a grant to cover his pay. Soon after that, poet and printer William Everson began teaching at UCSC, too. Over time, the program grew to offer UCSC students all sorts of classes, in typography, design, printmaking and book making.\u003c/p>\n\u003cp>A new exhibit at the \u003ca href=\"http://cowell.ucsc.edu/smith-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">Eloise Pickard Smith Gallery\u003c/a> that opens this weekend called \u003ca href=\"https://events.ucsc.edu/event/3443\" target=\"_blank\" rel=\"noopener noreferrer\">Pressing On: Selected Works from the Cowell Press\u003c/a> explores the legacy of the UCSC program. On Saturday, there will be a panel discussion at the Page Smith Library that features the current head of the program, \u003ca href=\"http://www.gary-young.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Young\u003c/a>, and a couple of star alums, including \u003ca href=\"http://movingpartspress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Felicia Rice\u003c/a> and \u003ca href=\"http://www.tomkillion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Killion\u003c/a>.\u003c/p>\n\u003cp>“That was a wonderful moment in time at UC Santa Cruz,” says Killion, whose work has been exhibited in California, New York and Europe. “There were all these wonderful professors who had come to participate in a world-class experiment.”\u003c/p>\n\u003cp>Killion hails from Marin County and currently lives near Point Reyes. But for many decades, he lived in Santa Cruz County, starting with a stint at UC Santa Cruz in the early 1970s. That’s where his career started — “inadvertently,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11268205\" class=\"wp-caption aligncenter\" style=\"max-width: 701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11268205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg\" alt=\"“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion.\" width=\"701\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg 701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-400x342.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip.jpeg 720w\" sizes=\"(max-width: 701px) 100vw, 701px\">\u003cfigcaption class=\"wp-caption-text\">“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion. \u003ccite>(Courtesy: Tom Killion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was a history major making a book of linoleum prints of Mt. Tamalpais in his spare time when a friend told him about a class taught by Stauffacher. “He had a Zen way of teaching. He didn’t show us how to print. So the students showed each other the technical aspects. He’d be talking about the great European type designers of the 20th century – which was way over our heads – but it got us inspired,” Killion says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Killion was hooked. He went on to spend the summer after he graduated making his book, \u003cem>28 views of Mount Tamalpais\u003c/em>, inspired by Hokusai’s \u003ca href=\"http://www.hokusaionline.co.uk/code/36_views_mount_fuji.html\" target=\"_blank\" rel=\"noopener noreferrer\">36 Views of Mount Fuji\u003c/a>. Thus began Killion’s long career celebrating the coastal landscape of California in a style adapted from the traditional Japanese aesthetic of \u003ca href=\"https://en.wikipedia.org/wiki/Ukiyo-e\" target=\"_blank\" rel=\"noopener noreferrer\">Ukiyo-ë\u003c/a>.\u003c/p>\n\u003cp>Rice arrived in 1974. “When I came to Santa Cruz, it was because of the Press. I found exactly what I needed,” Rice says, whose work has been exhibited all over the world.\u003c/p>\n\u003cfigure id=\"attachment_11265765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265765 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg\" alt=\"Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-960x644.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya. \u003ccite>(Courtesy Felicia Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santa Cruz developed a book arts community, Rice says, that soon became a well-regarded hub nationally and internationally. Many students went on to work in book design in New York, and digital design in Silicon Valley.\u003c/p>\n\u003cp>“It was a very tight group of people who were anxious to teach and learn from each other,” Rice says.\u003c/p>\n\u003cp>[contextly_sidebar id=”C29qtkB1iei9oLJyF0FncB8UWTmdayFk”] Thanks to Silicon Valley, she says, fine-art printing has been revolutionized. “We were practicing an archaic craft, and over the years, as digital tools made more things possible to more people, everybody got involved.” She adds the craft has gone from being dominated by men to being dominated by women. “I was one of the few women doing it, and now that is not the case!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who’s coming up now through Cowell Press? Judge for yourself. \u003cem>Pressing On\u003c/em> features work from current students, as well as from the archives, and will be up at the Eloise Pickard Smith Gallery through March 4.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in the early 1970s, a couple of UC Santa Cruz students wanted to take a class in letterpress book printing. There being no such class, SB Masters and Tom Whitridge lined up a potential teacher, respected San Francisco typographer Jack Stauffacher, and then a grant to cover his pay. Soon after that, poet and printer William Everson began teaching at UCSC, too. Over time, the program grew to offer UCSC students all sorts of classes, in typography, design, printmaking and book making.\u003c/p>\n\u003cp>A new exhibit at the \u003ca href=\"http://cowell.ucsc.edu/smith-gallery/\" target=\"_blank\" rel=\"noopener noreferrer\">Eloise Pickard Smith Gallery\u003c/a> that opens this weekend called \u003ca href=\"https://events.ucsc.edu/event/3443\" target=\"_blank\" rel=\"noopener noreferrer\">Pressing On: Selected Works from the Cowell Press\u003c/a> explores the legacy of the UCSC program. On Saturday, there will be a panel discussion at the Page Smith Library that features the current head of the program, \u003ca href=\"http://www.gary-young.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Young\u003c/a>, and a couple of star alums, including \u003ca href=\"http://movingpartspress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Felicia Rice\u003c/a> and \u003ca href=\"http://www.tomkillion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Killion\u003c/a>.\u003c/p>\n\u003cp>“That was a wonderful moment in time at UC Santa Cruz,” says Killion, whose work has been exhibited in California, New York and Europe. “There were all these wonderful professors who had come to participate in a world-class experiment.”\u003c/p>\n\u003cp>Killion hails from Marin County and currently lives near Point Reyes. But for many decades, he lived in Santa Cruz County, starting with a stint at UC Santa Cruz in the early 1970s. That’s where his career started — “inadvertently,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11268205\" class=\"wp-caption aligncenter\" style=\"max-width: 701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11268205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg\" alt=\"“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion.\" width=\"701\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-701x600.jpeg 701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip-400x342.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Pogonip.jpeg 720w\" sizes=\"(max-width: 701px) 100vw, 701px\">\u003cfigcaption class=\"wp-caption-text\">“Santa Cruz from the Pogonip,” more or less the view from Cowell College, UCSC, a multi-block woodcut print from 2002 by Tom Killion. \u003ccite>(Courtesy: Tom Killion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was a history major making a book of linoleum prints of Mt. Tamalpais in his spare time when a friend told him about a class taught by Stauffacher. “He had a Zen way of teaching. He didn’t show us how to print. So the students showed each other the technical aspects. He’d be talking about the great European type designers of the 20th century – which was way over our heads – but it got us inspired,” Killion says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Killion was hooked. He went on to spend the summer after he graduated making his book, \u003cem>28 views of Mount Tamalpais\u003c/em>, inspired by Hokusai’s \u003ca href=\"http://www.hokusaionline.co.uk/code/36_views_mount_fuji.html\" target=\"_blank\" rel=\"noopener noreferrer\">36 Views of Mount Fuji\u003c/a>. Thus began Killion’s long career celebrating the coastal landscape of California in a style adapted from the traditional Japanese aesthetic of \u003ca href=\"https://en.wikipedia.org/wiki/Ukiyo-e\" target=\"_blank\" rel=\"noopener noreferrer\">Ukiyo-ë\u003c/a>.\u003c/p>\n\u003cp>Rice arrived in 1974. “When I came to Santa Cruz, it was because of the Press. I found exactly what I needed,” Rice says, whose work has been exhibited all over the world.\u003c/p>\n\u003cfigure id=\"attachment_11265765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265765 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg\" alt=\"Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS18189_codexbook-color-web-qut-960x644.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Rice has done a lot of work with Chicano/a artists, including Codex Espangliensis, including performance texts and poems by Guillermo Gómez-Peña with collage imagery by Enrique Chagoya. \u003ccite>(Courtesy Felicia Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Santa Cruz developed a book arts community, Rice says, that soon became a well-regarded hub nationally and internationally. Many students went on to work in book design in New York, and digital design in Silicon Valley.\u003c/p>\n\u003cp>“It was a very tight group of people who were anxious to teach and learn from each other,” Rice says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp> Thanks to Silicon Valley, she says, fine-art printing has been revolutionized. “We were practicing an archaic craft, and over the years, as digital tools made more things possible to more people, everybody got involved.” She adds the craft has gone from being dominated by men to being dominated by women. “I was one of the few women doing it, and now that is not the case!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who’s coming up now through Cowell Press? Judge for yourself. \u003cem>Pressing On\u003c/em> features work from current students, as well as from the archives, and will be up at the Eloise Pickard Smith Gallery through March 4.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The film academy is pledging to double the number of female and minority members by 2020, and will immediately diversify its leadership by adding three new seats to its board of governors.\u003c/p>\n\u003cp>Academy president Cheryl Boone Isaacs announced the changes Friday, following a weeklong storm of criticism and calls for an Oscar boycott after academy members nominated an all-white slate of actors for the second year in a row.\u003c/p>\n\u003cp>“The Academy is going to lead and not wait for the industry to catch up,” she said in a statement.\u003c/p>\n\u003cp>The Academy of Motion Picture Arts and Sciences’ 51-member board of governors unanimously approved a series of reforms late Thursday to “begin the process of significantly changing our membership composition,” Isaacs said. The number of minorities currently serving as members of the academy has not been revealed.\u003c/p>\n\u003cp>Several of Hollywood’s most prominent African-Americans, including Will Smith and Spike Lee, have said they won’t attend this year’s Oscars, which is to be hosted by Chris Rock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other changes include limiting members’ voting status to a period of 10 years, to be extended only if the individual remains active in film during that decade. Lifetime voting rights will be granted only to Academy Award nominees and winners, and to members after three ten-year voting terms. Previously, all active members received lifetime voting rights.\u003c/p>\n\u003cp>The organization also plans to diversify its leadership beyond the board of governors by adding new members to key decision-making committees, and further diversify its membership with a global campaign to identify and recruit diverse talent.\u003c/p>\n\u003cp>Reaction came swiftly. Ava DuVernay, director of last year’s best picture-nominee \u003cem>Selma\u003c/em>, tweeted that the changes were “one good step in a long, complicated journey for people of color and women artists.” She added: “Shame is a helluva motivator.”\u003c/p>\n\u003cp>“Marginalized artists have advocated for Academy change for DECADES,” DuVernay wrote. “Actual campaigns. Calls voiced FROM THE STAGE. Deaf ears. Clòsed minds.\u003c/p>\n\u003cp>And director Rick Famuyiwa, whose films include \u003cem>The Wood\u003c/em> and \u003cem>Brown Sugar\u003c/em>, commented: “The devil is in the details.”\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.oscars.org/news/academy-takes-historic-action-increase-diversity\" target=\"_blank\" rel=\"noopener\">Read the Academy’s announcement on their website\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The film academy is pledging to double the number of female and minority members by 2020, and will immediately diversify its leadership by adding three new seats to its board of governors.\u003c/p>\n\u003cp>Academy president Cheryl Boone Isaacs announced the changes Friday, following a weeklong storm of criticism and calls for an Oscar boycott after academy members nominated an all-white slate of actors for the second year in a row.\u003c/p>\n\u003cp>“The Academy is going to lead and not wait for the industry to catch up,” she said in a statement.\u003c/p>\n\u003cp>The Academy of Motion Picture Arts and Sciences’ 51-member board of governors unanimously approved a series of reforms late Thursday to “begin the process of significantly changing our membership composition,” Isaacs said. The number of minorities currently serving as members of the academy has not been revealed.\u003c/p>\n\u003cp>Several of Hollywood’s most prominent African-Americans, including Will Smith and Spike Lee, have said they won’t attend this year’s Oscars, which is to be hosted by Chris Rock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other changes include limiting members’ voting status to a period of 10 years, to be extended only if the individual remains active in film during that decade. Lifetime voting rights will be granted only to Academy Award nominees and winners, and to members after three ten-year voting terms. Previously, all active members received lifetime voting rights.\u003c/p>\n\u003cp>The organization also plans to diversify its leadership beyond the board of governors by adding new members to key decision-making committees, and further diversify its membership with a global campaign to identify and recruit diverse talent.\u003c/p>\n\u003cp>Reaction came swiftly. Ava DuVernay, director of last year’s best picture-nominee \u003cem>Selma\u003c/em>, tweeted that the changes were “one good step in a long, complicated journey for people of color and women artists.” She added: “Shame is a helluva motivator.”\u003c/p>\n\u003cp>“Marginalized artists have advocated for Academy change for DECADES,” DuVernay wrote. “Actual campaigns. Calls voiced FROM THE STAGE. Deaf ears. Clòsed minds.\u003c/p>\n\u003cp>And director Rick Famuyiwa, whose films include \u003cem>The Wood\u003c/em> and \u003cem>Brown Sugar\u003c/em>, commented: “The devil is in the details.”\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.oscars.org/news/academy-takes-historic-action-increase-diversity\" target=\"_blank\" rel=\"noopener\">Read the Academy’s announcement on their website\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Will Smith says he will not attend the Academy Awards next month, joining his wife, Jada Pinkett Smith, and others in protest against two straight years of all-white acting nominees. Best supporting actor nominee Mark Ruffalo also says he’s considering skipping the ceremony.\u003c/p>\n\u003cp>“My wife’s not going. It would be awkward for me to show up with Charlize (Theron),” said Smith on ABC’s \u003cem>Good Morning America\u003c/em> on Thursday. “We’ve discussed it, but at this current time, we’re uncomfortable to stand there and say this is OK.”\u003c/p>\n\u003cp>Smith, who some thought might be nominated for his performance in the football drama “Concussion,” said his decision was “deeply not about me.”\u003c/p>\n\u003cp>“This is about children that are going to sit down and they’re going to watch the show and they’re not going to see themselves represented,” said Smith.\u003c/p>\n\u003cp>Smith, who would likely have been a sought-after presenter at the Feb. 28 ceremony, becomes the biggest name to join a boycott of the Academy Awards following announcements by Spike Lee (an honorary Oscar recipient this year) and Pinkett Smith.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ruffalo, nominated for his performance in the newspaper drama “Spotlight,” said Thursday that he’s mulling joining the protest.\u003c/p>\n\u003cp>“I’m weighing it, that’s where I’m at right now,” Ruffalo told BBC News. “I woke up in the morning thinking, ‘What is the right way to do this?’ Because if you look at Martin Luther King’s legacy, what he was saying was that the good people who don’t act are much worse than the wrongdoers who are purposefully not acting and don’t know the right way.”\u003c/p>\n\u003cp>One of the acting nominees joining the boycott would add a new chapter in the backlash that has roiled the Academy of Motion Pictures Arts and Sciences. Following the announcements by Lee and Pinkett Smith, academy President Cheryl Boone Isaacs has pledged “dramatic changes” to diversity in the academy’s membership.\u003c/p>\n\u003cp>Smith, who has been nominated twice before, for 2001’s \u003cem>Ali\u003c/em> and 2006’s \u003cem>The Pursuit of Happyness\u003c/em>, said he believes the industry can do better.\u003c/p>\n\u003cp>“Diversity is the American superpower. That’s why we’re great,” said Smith. “When I look at the series of nominations of the academy, it’s not reflecting that beauty.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Will Smith says he will not attend the Academy Awards next month, joining his wife, Jada Pinkett Smith, and others in protest against two straight years of all-white acting nominees. Best supporting actor nominee Mark Ruffalo also says he’s considering skipping the ceremony.\u003c/p>\n\u003cp>“My wife’s not going. It would be awkward for me to show up with Charlize (Theron),” said Smith on ABC’s \u003cem>Good Morning America\u003c/em> on Thursday. “We’ve discussed it, but at this current time, we’re uncomfortable to stand there and say this is OK.”\u003c/p>\n\u003cp>Smith, who some thought might be nominated for his performance in the football drama “Concussion,” said his decision was “deeply not about me.”\u003c/p>\n\u003cp>“This is about children that are going to sit down and they’re going to watch the show and they’re not going to see themselves represented,” said Smith.\u003c/p>\n\u003cp>Smith, who would likely have been a sought-after presenter at the Feb. 28 ceremony, becomes the biggest name to join a boycott of the Academy Awards following announcements by Spike Lee (an honorary Oscar recipient this year) and Pinkett Smith.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ruffalo, nominated for his performance in the newspaper drama “Spotlight,” said Thursday that he’s mulling joining the protest.\u003c/p>\n\u003cp>“I’m weighing it, that’s where I’m at right now,” Ruffalo told BBC News. “I woke up in the morning thinking, ‘What is the right way to do this?’ Because if you look at Martin Luther King’s legacy, what he was saying was that the good people who don’t act are much worse than the wrongdoers who are purposefully not acting and don’t know the right way.”\u003c/p>\n\u003cp>One of the acting nominees joining the boycott would add a new chapter in the backlash that has roiled the Academy of Motion Pictures Arts and Sciences. Following the announcements by Lee and Pinkett Smith, academy President Cheryl Boone Isaacs has pledged “dramatic changes” to diversity in the academy’s membership.\u003c/p>\n\u003cp>Smith, who has been nominated twice before, for 2001’s \u003cem>Ali\u003c/em> and 2006’s \u003cem>The Pursuit of Happyness\u003c/em>, said he believes the industry can do better.\u003c/p>\n\u003cp>“Diversity is the American superpower. That’s why we’re great,” said Smith. “When I look at the series of nominations of the academy, it’s not reflecting that beauty.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the Super Bowl’s golden anniversary, Annice Jacoby is making a blanket.\u003c/p>\n\u003cp>The blanket doesn’t show the insignias of the two competing teams. The handmade bed covering doesn’t bear much at all, in fact, aside from the symbol of two hands raised palms-up, silk-screened in black and white.\u003c/p>\n\u003cp>While Super Bowl 50 will attract a deluge of well-heeled tourists to the Bay Area over the next few weeks, Jacoby’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">blanket art project\u003c/a> attempts to draw attention to a part of the city people would much rather ignore: those struggling with homelessness.\u003c/p>\n\u003cp>In response to Mayor Ed Lee’s \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Nothing-like-a-Super-Bowl-to-fix-S-F-s-6472820.php\" target=\"_blank\" rel=\"noopener\">plans\u003c/a> to move the homeless community out of the streets in preparation for the Super Bowl, citing safety and legal issues, Jacoby, a co-founder of the art organization \u003ca href=\"https://www.facebook.com/SFCityOfPoets\" target=\"_blank\" rel=\"noopener\">City of Poets\u003c/a>, teamed up with several local partners including \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a> to create a series of handmade blankets to give away to people living on the streets.\u003c/p>\n\u003cp>“What we’re doing is geared around the fact that the city has chosen to have a clean sweep to make the city a little more appealing for the Super Bowl party,” Jacoby says. “The intense escalation of the issue has created a public numbness. Our goal is to use creativity to unite.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jacoby and her team are working around the clock to make the blankets. Their handiwork doubles as a waterproof poncho with inside pockets to hold a book, a sandwich and a pair of socks. Project collaborator has composed a special song, which the group hopes will inspire others to join their cause.\u003c/p>\n\u003cp>Volunteers will distribute the blankets to those in need during the nine-day Super Bowl event and encourage the public to use social media or speak to public officials directly every time they spot one of the special blankets out in the community.\u003c/p>\n\u003cp>“We wanted to start distributing and documenting on social media the week before the Super Bowl, since that’s when people will be really focusing on San Francisco on a national level,” says Mary Hogue, co-owner of \u003ca href=\"https://www.facebook.com/missionpraxis/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a>, a locally-made clothing store and community art space, and one of the partners on the project.\u003c/p>\n\u003cp>Jacoby approached Hogue and her business partner Aerin Willey to host sewing circles which would not only gather the helping hands needed for production, but also encourage discussion on the issue of homelessness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s giving people something to do that’s helpful and creative,” Hogue says. “It’s an act of aggressive movement in a non-divisive way. The average person on the street has a sense of helplessness and we’re trying to change it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the Super Bowl’s golden anniversary, Annice Jacoby is making a blanket.\u003c/p>\n\u003cp>The blanket doesn’t show the insignias of the two competing teams. The handmade bed covering doesn’t bear much at all, in fact, aside from the symbol of two hands raised palms-up, silk-screened in black and white.\u003c/p>\n\u003cp>While Super Bowl 50 will attract a deluge of well-heeled tourists to the Bay Area over the next few weeks, Jacoby’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">blanket art project\u003c/a> attempts to draw attention to a part of the city people would much rather ignore: those struggling with homelessness.\u003c/p>\n\u003cp>In response to Mayor Ed Lee’s \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Nothing-like-a-Super-Bowl-to-fix-S-F-s-6472820.php\" target=\"_blank\" rel=\"noopener\">plans\u003c/a> to move the homeless community out of the streets in preparation for the Super Bowl, citing safety and legal issues, Jacoby, a co-founder of the art organization \u003ca href=\"https://www.facebook.com/SFCityOfPoets\" target=\"_blank\" rel=\"noopener\">City of Poets\u003c/a>, teamed up with several local partners including \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a> to create a series of handmade blankets to give away to people living on the streets.\u003c/p>\n\u003cp>“What we’re doing is geared around the fact that the city has chosen to have a clean sweep to make the city a little more appealing for the Super Bowl party,” Jacoby says. “The intense escalation of the issue has created a public numbness. Our goal is to use creativity to unite.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jacoby and her team are working around the clock to make the blankets. Their handiwork doubles as a waterproof poncho with inside pockets to hold a book, a sandwich and a pair of socks. Project collaborator has composed a special song, which the group hopes will inspire others to join their cause.\u003c/p>\n\u003cp>Volunteers will distribute the blankets to those in need during the nine-day Super Bowl event and encourage the public to use social media or speak to public officials directly every time they spot one of the special blankets out in the community.\u003c/p>\n\u003cp>“We wanted to start distributing and documenting on social media the week before the Super Bowl, since that’s when people will be really focusing on San Francisco on a national level,” says Mary Hogue, co-owner of \u003ca href=\"https://www.facebook.com/missionpraxis/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a>, a locally-made clothing store and community art space, and one of the partners on the project.\u003c/p>\n\u003cp>Jacoby approached Hogue and her business partner Aerin Willey to host sewing circles which would not only gather the helping hands needed for production, but also encourage discussion on the issue of homelessness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s giving people something to do that’s helpful and creative,” Hogue says. “It’s an act of aggressive movement in a non-divisive way. The average person on the street has a sense of helplessness and we’re trying to change it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
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