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"content": "\u003cp>Pierre Boulez, the French composer and conductor whose career spanned from the avant-garde post-World War II era to the computer age, has died, according to the French culture ministry. He was 90. Boulez famously challenged his peers and his audience to rethink their ideas of sound and harmony.\u003c/p>\n\u003cp>In his music, Boulez often created rich and contrasting layers that were built on musical traditions from Asia and Africa, and on the 12-tone technique pioneered by Arnold Schoenberg — as in his 1955 work, \u003cem>Le Marteau sans maître\u003c/em> (The Hammer Without a Master).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MS82nF85_gA\u003c/p>\n\u003cp>“I see music as a kind of continuity, like a big tree,” Boulez told NPR in 2000. “Of course there are many branches, many different directions. I think music is in constant evolution, and there is nothing absolutely fixed and rigidly determined.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/deceptivecadence/2015/03/26/395318157/the-sensuous-radical-pierre-boulez-at-90\" target=\"_blank\" rel=\"noopener\">NPR’s Tom Huizenga cited the quote\u003c/a> in a piece last year examining the composer’s rebellious roots: Boulez once disrupted a Stravinsky concert, and later said that opera’s problems could be solved by blowing up opera houses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Boulez also had a knack for polemics — for instance, \u003ca href=\"http://www.theguardian.com/music/tomserviceblog/2012/jul/16/pierre-boulez-contemporary-music-guide\">The Guardian\u003c/a> referenced this quote: “anyone who has not felt… the necessity of the dodecaphonic [12-tone] language is OF NO USE.”\u003c/p>\n\u003cp>But the oft-repeated idea that his music was centered in mathematics is a bit overblown, Boulez \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4649345\" target=\"_blank\" rel=\"noopener\">told Fresh Air host Terry Gross in 2005\u003c/a>.\u003c/p>\n\u003cp>Saying that a musical language always includes both rational and irrational parts, he noted, “What I tried to find, that’s freedom — but a freedom which is based on discipline.”\u003c/p>\n\u003cp>Boulez, who won 26 Grammy awards, had a prodigiously broad musical reach. In the 1970s, he founded the IRCAM music and science research center at the Pompidou Center in Paris. That’s where, in 1984, he \u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">conducted music from Frank Zappa’s album \u003c/a>\u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">The Perfect Stranger\u003c/a>.\u003c/p>\n\u003cp>Born in 1925, Boulez studied at the Paris Conservatory under Olivier Messiaen and René Leibowitz, before embarking on a career that perpetually sought new and modern approaches to music.\u003c/p>\n\u003cp>He emerged as a conductor in the late 1950s, and for a stretch of years in the 1970s, he served as both the chief conductor of the BBC Symphony Orchestra and as the music director of the New York Philharmonic. He also had a long relationship with the Chicago Symphony Orchestra, which in 2006 named him conductor emeritus.\u003c/p>\n\u003cp>Discussing Boulez’s work on the podium back in 2010, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=126668117\" target=\"_blank\" rel=\"noopener\">Fresh Air’s Lloyd Schwartz wrote\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boulez is famous for his amazing ear. He lets you hear every detail. But there are two other Boulez qualities he isn’t often given credit for. One is his innate and effortless sense of the right style. In Boulez’s hands, Haydn’s symphony — for a change — actually sounds Viennese.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As for his famous statement that opera houses should be blown up, Boulez told \u003cem>Fresh Air\u003c/em> in 2005 that he was only joking. The headlines that followed, he said, missed the humor in the statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That was very funny to me,” Boulez said. “A number of times I have heard this quote. I thought I would have said only one sentence in my life.” \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=Composer+Pierre+Boulez%2C+A+Revered+Iconoclast%2C+Has+Died+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Boulez also had a knack for polemics — for instance, \u003ca href=\"http://www.theguardian.com/music/tomserviceblog/2012/jul/16/pierre-boulez-contemporary-music-guide\">The Guardian\u003c/a> referenced this quote: “anyone who has not felt… the necessity of the dodecaphonic [12-tone] language is OF NO USE.”\u003c/p>\n\u003cp>But the oft-repeated idea that his music was centered in mathematics is a bit overblown, Boulez \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4649345\" target=\"_blank\" rel=\"noopener\">told Fresh Air host Terry Gross in 2005\u003c/a>.\u003c/p>\n\u003cp>Saying that a musical language always includes both rational and irrational parts, he noted, “What I tried to find, that’s freedom — but a freedom which is based on discipline.”\u003c/p>\n\u003cp>Boulez, who won 26 Grammy awards, had a prodigiously broad musical reach. In the 1970s, he founded the IRCAM music and science research center at the Pompidou Center in Paris. That’s where, in 1984, he \u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">conducted music from Frank Zappa’s album \u003c/a>\u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">The Perfect Stranger\u003c/a>.\u003c/p>\n\u003cp>Born in 1925, Boulez studied at the Paris Conservatory under Olivier Messiaen and René Leibowitz, before embarking on a career that perpetually sought new and modern approaches to music.\u003c/p>\n\u003cp>He emerged as a conductor in the late 1950s, and for a stretch of years in the 1970s, he served as both the chief conductor of the BBC Symphony Orchestra and as the music director of the New York Philharmonic. He also had a long relationship with the Chicago Symphony Orchestra, which in 2006 named him conductor emeritus.\u003c/p>\n\u003cp>Discussing Boulez’s work on the podium back in 2010, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=126668117\" target=\"_blank\" rel=\"noopener\">Fresh Air’s Lloyd Schwartz wrote\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boulez is famous for his amazing ear. He lets you hear every detail. But there are two other Boulez qualities he isn’t often given credit for. One is his innate and effortless sense of the right style. In Boulez’s hands, Haydn’s symphony — for a change — actually sounds Viennese.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As for his famous statement that opera houses should be blown up, Boulez told \u003cem>Fresh Air\u003c/em> in 2005 that he was only joking. The headlines that followed, he said, missed the humor in the statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That was very funny to me,” Boulez said. “A number of times I have heard this quote. I thought I would have said only one sentence in my life.” \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=Composer+Pierre+Boulez%2C+A+Revered+Iconoclast%2C+Has+Died+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>UPDATED:\u003c/strong> \u003cem>Jan. 6, 2016, 5pm\u003c/em>\u003c/p>\n\u003cp>Daniel Clowes announced Tuesday that he is pulling himself from a list of 30 nominees for a prestigious comic award in support of a boycott of the contest over the fact that all the nominees were men.\u003c/p>\n\u003cp>Clowes, the Oakland-based comic artist described by the \u003cem>New York Times\u003c/em> as being \u003ca href=\"http://www.nytimes.com/2012/04/01/arts/design/daniel-clowess-retrospective-at-the-oakland-museum.html\" target=\"_blank\" rel=\"noopener\">one of today’s most successful and respected graphic novelists,\u003c/a> posted his decision on his publisher \u003ca href=\"http://fantagraphics.com/flog/angouleme/\" target=\"_blank\" rel=\"noopener\">Fantagraphics’ website\u003c/a> after the nominees were announced Tuesday morning.\u003c/p>\n\u003cp>“I support the boycott of Angouleme and am withdrawing my name from any consideration for what is now a totally meaningless ‘honor.’ What a ridiculous, embarrassing debacle,” Clowes is quoted saying on the blog post.\u003c/p>\n\u003cp>[contextly_sidebar id=”CiUjo719TLaofoVpKtXWgC1Dgo6k6cx9″]\u003c/p>\n\u003cp>The centerpiece of a gigantic, 42-year-old comic festival in France, Grand Prix d’Angouleme could be \u003ca href=\"http://www.comicsbeat.com/call-for-boycott-of-angoulemes-grand-prix-nominees-after-list-includes-only-men/\" target=\"_blank\" rel=\"noopener\">considered the greatest honor a comic artist can receive\u003c/a>. The winner’s work is celebrated by a festival that attracts 200,000 people a year. At special exhibits about the honoree’s process, the artist is invited to draw comics live for thousands of spectators in a recreation of his or her studio. And then the winner even becomes president of the jury that selects the following year’s nominees.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though \u003ca href=\"http://grandprix.bdangouleme.com/11/liste-candidats.html\" target=\"_blank\" rel=\"noopener\">this year’s list\u003c/a> had more international artists than usual — \u003ca href=\"https://en.wikipedia.org/wiki/Grand_Prix_de_la_ville_d%27Angoul%C3%AAme\" target=\"_blank\" rel=\"noopener\">the majority of the award’s recipients have been French\u003c/a> — not one nominee was a woman. Also, in the festival’s 42-year history, only one woman, \u003ca href=\"https://fr.wikipedia.org/wiki/Florence_Cestac\" target=\"_blank\" rel=\"noopener\">Florence Cestac\u003c/a>, has received the prestigious honor. (Though according to \u003ca href=\"https://en.wikipedia.org/wiki/Grand_Prix_de_la_ville_d%27Angoul%C3%AAme\" target=\"_blank\" rel=\"noopener\">Wikipedia\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Claire_Bret%C3%A9cher\" target=\"_blank\" rel=\"noopener\">Claire Bretécher\u003c/a> received a similar honor of the 10th anniversary of the festival.)\u003c/p>\n\u003cp>A group of women cartoonists calling themselves BD Egalite (“Comics Equality”) have publicly denounced the list and, because the winner is chosen by the comics world at large, they are calling for an artist boycott on voting for the award.\u003c/p>\n\u003cp>From their \u003ca href=\"http://bdegalite.org/fibd-femmes-interdites-de-bande-dessinee/\" target=\"_blank\" rel=\"noopener\">online statement\u003c/a> (seems like the webpage is down), translated by Google:\u003c/p>\n\u003cblockquote>\u003cp>“It is no longer tolerable as renowned designers, whose career is recognized by everyone, are absent from the nominations of this Grand Prix. If autrices and authors select a trio in a list decided by the FIBD, this list must always be truly representative of what comics today. The autrices are also literary references in this field. “\u003c/p>\u003c/blockquote>\n\u003cp>Clowes is not the only artist pulling his name from consideration: French cartoonist Riad Sattouf announced on his Facebook page that he too was dropping out, and he even provided some examples of female cartoonists that could be considered for the prize.\u003c/p>\n\u003cp>https://www.facebook.com/riadsattouf/posts/10153530599353052\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> \u003ca href=\"http://www.theguardian.com/world/2016/jan/06/comic-book-artists-pull-out-award-protest-all-male-shortlist?CMP=share_btn_tw\" target=\"_blank\" rel=\"noopener\">The Guardian is reporting\u003c/a> that the organizers behind the Grand Prix d’Angouleme are bowing to pressure and will be adding women to the shortlist of names. At the time of the announcement, \u003ca href=\"http://robot6.comicbookresources.com/2016/01/nine-creators-withdraw-names-from-angouleme-grand-prix-list/\" target=\"_blank\" rel=\"noopener\">10 artists on the list \u003c/a>had asked to be removed from consideration. \u003c/p>\n\u003cp>Though the festival organizers didn’t acquiesce without causing more controversy: Franck Bondoux, the head of the festival, defended the list \u003ca href=\"http://www.lemonde.fr/bande-dessinee/article/2016/01/05/le-festival-de-bd-d-angouleme-accuse-de-sexisme-apres-une-selection-100-masculine_4842193_4420272.html#8qTTe8FDvekxCZmF.99\" target=\"_blank\" rel=\"noopener\">to the French newspaper Le Monde\u003c/a> by stating that the award honors an artist’s total body of work. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Unfortunately, there are few women in the history of comics,” Bondoux said. “That’s the reality. Similarly, if you go to the Louvre, you will find few women artists.” \u003c/p>\n\n",
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"title": "Daniel Clowes Boycotting Comic Award Contest [UPDATED] | KQED",
"description": "UPDATED: Jan. 6, 2016, 5pm Daniel Clowes announced Tuesday that he is pulling himself from a list of 30 nominees for a prestigious comic award in support of a boycott of the contest over the fact that all the nominees were men. Clowes, the Oakland-based comic artist described by the New York Times as being one of today’s most successful and respected graphic novelists, posted his decision on his publisher Fantagraphics' website after the nominees were announced Tuesday morning. “I support the boycott of Angouleme and am withdrawing my name from any consideration for what is now a totally meaningless",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>UPDATED:\u003c/strong> \u003cem>Jan. 6, 2016, 5pm\u003c/em>\u003c/p>\n\u003cp>Daniel Clowes announced Tuesday that he is pulling himself from a list of 30 nominees for a prestigious comic award in support of a boycott of the contest over the fact that all the nominees were men.\u003c/p>\n\u003cp>Clowes, the Oakland-based comic artist described by the \u003cem>New York Times\u003c/em> as being \u003ca href=\"http://www.nytimes.com/2012/04/01/arts/design/daniel-clowess-retrospective-at-the-oakland-museum.html\" target=\"_blank\" rel=\"noopener\">one of today’s most successful and respected graphic novelists,\u003c/a> posted his decision on his publisher \u003ca href=\"http://fantagraphics.com/flog/angouleme/\" target=\"_blank\" rel=\"noopener\">Fantagraphics’ website\u003c/a> after the nominees were announced Tuesday morning.\u003c/p>\n\u003cp>“I support the boycott of Angouleme and am withdrawing my name from any consideration for what is now a totally meaningless ‘honor.’ What a ridiculous, embarrassing debacle,” Clowes is quoted saying on the blog post.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The centerpiece of a gigantic, 42-year-old comic festival in France, Grand Prix d’Angouleme could be \u003ca href=\"http://www.comicsbeat.com/call-for-boycott-of-angoulemes-grand-prix-nominees-after-list-includes-only-men/\" target=\"_blank\" rel=\"noopener\">considered the greatest honor a comic artist can receive\u003c/a>. The winner’s work is celebrated by a festival that attracts 200,000 people a year. At special exhibits about the honoree’s process, the artist is invited to draw comics live for thousands of spectators in a recreation of his or her studio. And then the winner even becomes president of the jury that selects the following year’s nominees.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though \u003ca href=\"http://grandprix.bdangouleme.com/11/liste-candidats.html\" target=\"_blank\" rel=\"noopener\">this year’s list\u003c/a> had more international artists than usual — \u003ca href=\"https://en.wikipedia.org/wiki/Grand_Prix_de_la_ville_d%27Angoul%C3%AAme\" target=\"_blank\" rel=\"noopener\">the majority of the award’s recipients have been French\u003c/a> — not one nominee was a woman. Also, in the festival’s 42-year history, only one woman, \u003ca href=\"https://fr.wikipedia.org/wiki/Florence_Cestac\" target=\"_blank\" rel=\"noopener\">Florence Cestac\u003c/a>, has received the prestigious honor. (Though according to \u003ca href=\"https://en.wikipedia.org/wiki/Grand_Prix_de_la_ville_d%27Angoul%C3%AAme\" target=\"_blank\" rel=\"noopener\">Wikipedia\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Claire_Bret%C3%A9cher\" target=\"_blank\" rel=\"noopener\">Claire Bretécher\u003c/a> received a similar honor of the 10th anniversary of the festival.)\u003c/p>\n\u003cp>A group of women cartoonists calling themselves BD Egalite (“Comics Equality”) have publicly denounced the list and, because the winner is chosen by the comics world at large, they are calling for an artist boycott on voting for the award.\u003c/p>\n\u003cp>From their \u003ca href=\"http://bdegalite.org/fibd-femmes-interdites-de-bande-dessinee/\" target=\"_blank\" rel=\"noopener\">online statement\u003c/a> (seems like the webpage is down), translated by Google:\u003c/p>\n\u003cblockquote>\u003cp>“It is no longer tolerable as renowned designers, whose career is recognized by everyone, are absent from the nominations of this Grand Prix. If autrices and authors select a trio in a list decided by the FIBD, this list must always be truly representative of what comics today. The autrices are also literary references in this field. “\u003c/p>\u003c/blockquote>\n\u003cp>Clowes is not the only artist pulling his name from consideration: French cartoonist Riad Sattouf announced on his Facebook page that he too was dropping out, and he even provided some examples of female cartoonists that could be considered for the prize.\u003c/p>\n\u003cp>https://www.facebook.com/riadsattouf/posts/10153530599353052\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> \u003ca href=\"http://www.theguardian.com/world/2016/jan/06/comic-book-artists-pull-out-award-protest-all-male-shortlist?CMP=share_btn_tw\" target=\"_blank\" rel=\"noopener\">The Guardian is reporting\u003c/a> that the organizers behind the Grand Prix d’Angouleme are bowing to pressure and will be adding women to the shortlist of names. At the time of the announcement, \u003ca href=\"http://robot6.comicbookresources.com/2016/01/nine-creators-withdraw-names-from-angouleme-grand-prix-list/\" target=\"_blank\" rel=\"noopener\">10 artists on the list \u003c/a>had asked to be removed from consideration. \u003c/p>\n\u003cp>Though the festival organizers didn’t acquiesce without causing more controversy: Franck Bondoux, the head of the festival, defended the list \u003ca href=\"http://www.lemonde.fr/bande-dessinee/article/2016/01/05/le-festival-de-bd-d-angouleme-accuse-de-sexisme-apres-une-selection-100-masculine_4842193_4420272.html#8qTTe8FDvekxCZmF.99\" target=\"_blank\" rel=\"noopener\">to the French newspaper Le Monde\u003c/a> by stating that the award honors an artist’s total body of work. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Unfortunately, there are few women in the history of comics,” Bondoux said. “That’s the reality. Similarly, if you go to the Louvre, you will find few women artists.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Over 10 Years, 2 Filmmakers Documented the 'Making' of a Murderer",
"headTitle": "Over 10 Years, 2 Filmmakers Documented the ‘Making’ of a Murderer | KQED",
"content": "\u003cp>The era of the real-life whodunit\u003csup>\u003c/sup> series is upon us. The podcast \u003ca href=\"https://serialpodcast.org/season-one/1/the-alibi\" target=\"_blank\" rel=\"noopener\">Serial\u003c/a> first attracted legions of listeners drawn to the question of whether a young man should have been put in prison for the murder of his former high school girlfriend. HBO’s documentary \u003ca href=\"http://www.thejinxhbo.com/\" target=\"_blank\" rel=\"noopener\">The Jinx\u003c/a> focused on a trail of murdered and missing intimates of a troubled scion of a wealthy family.\u003c/p>\n\u003cp>Now, there’s the new Netflix series, \u003cem>Making a Murderer, \u003c/em>about a man named Steven Avery. In 2003, after 18 years in prison, DNA evidence proved Avery didn’t commit the brutal sexual assault he’d been accused of. Avery was freed, and it appeared that a long injustice had finally come to end.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/461908092/461997787\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In the 10 years Moira Demos and Laura Ricciardi spent making this 10-part series, they came to know Avery and his world in rural Manitowoc County, Wis.\u003c/p>\n\u003cp>“This is a part of the country that’s dominated by dairy farms, and his family ran the junkyard,” Demos tells NPR’s Renee Montagne. “He grew up working on his family’s salvage yard, he did not graduate high school. … They were sort of the marginalized folk from the wrong side of the tracks.”\u003c/p>\n\u003cfigure id=\"attachment_11222929\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b.jpg\" rel=\"attachment wp-att-11222929\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg\" alt=\"Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of 'Making a Murderer.'\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-11222929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of ‘Making a Murderer.’ \u003ccite>(Courtesy: Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a teenager, Demos says, Avery made a series of bad choices — for example, burglarizing a local tavern with his friends. “These are felonies, but when you look at the actual report, it’s about breaking in and making a cheese sandwich and stealing some beer,” Demos says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the accusations against Avery were about to get much more serious. A feud with his own cousin escalated to the point that she was spreading nasty and humiliating rumors about him. Avery had had enough, and one night he ran her off a country road and pointed a gun at her. He says the gun wasn’t loaded, but she was the wrong person to intimidate. “She was married to a sheriff’s deputy, and there’s certainly a line that he crossed there, that it became personal,” Demos says.\u003c/p>\n\u003cp>Not long after, a prominent woman in the town was sexually attacked and badly beaten while jogging along the lake. Avery was arrested just hours later. The documentary follows in great detail how detectives went about making the charges stick, even ignoring the suggestion by one officer that a known violent sex offender was responsible.\u003c/p>\n\u003cp>When Avery was exonerated by DNA evidence in 2003, he returned home to a crush of cameras and a family who always believed he was innocent. A series of damning news reports detailed how Avery had been railroaded, and he sued the county sheriff’s department.\u003c/p>\n\u003cp>Kim Ducat — a family member — believes that came back to haunt him. “They weren’t going to hand that man $36 million,” she says. “They weren’t going to be made a laughing stock — that’s for sure. … Something in my gut said: They’re not done with him. Something’s going to happen.”\u003c/p>\n\u003cp>Ducat was right. One of the most compelling elements of the series is how quickly Avery goes from being a local celebrity for his long-overdue release to someone who — just two years later — goes on trial for a grisly murder.\u003c/p>\n\u003cp>“We read the \u003cem>New York Times\u003c/em> headline \u003ca href=\"http://www.nytimes.com/2005/11/23/us/freed-by-dna-now-charged-in-new-crime.html\" target=\"_blank\" rel=\"noopener\">‘Freed by DNA, Now Charged in New Crime’\u003c/a> and immediately we recognized this as an unprecedented story,” Demos says. “But what we really recognized in Steven’s story was this valuable window through which to look at our system.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On parallels between the first and second case\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> We were trying really to explore the extent to which history might have been repeating itself here. Steven in the first case was arrested the very same day the victim was attacked, in just a matter of hours. … He had a pretty ironclad alibi — he was accounted for every minute of the day before the victim was attacked all the way through the time that law enforcement arrives at his house to arrest him.\u003c/p>\n\u003cp>So there was an interesting parallel between the arc of the first case and the arc of the second case and how law enforcement arguably handled both cases. And that got back to our original question of: Has the system evolved, and, if it has evolved, is anything now in place that wasn’t 20 years prior to stop a wrongful conviction from occurring?\u003c/p>\n\u003cp>\u003cstrong>On how the filmmakers got access \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> The way we reached out to potential subjects was to write letters to them. Letters of introduction to tell them why we thought they would have a valuable place in the story. We were really interested in hearing people’s firsthand accounts.\u003c/p>\n\u003cp>\u003cstrong>Demos:\u003c/strong> We were graduate film students at the time we started this, and we had no money, but what we did have was time. So we moved to Wisconsin. We lived there for nearly two years. So, you know, we were on the ground, there to cover anything that was happening, but also there to do research and to build relationships.\u003c/p>\n\u003cp>\u003cstrong>On whether they think Avery is innocent\u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> My opinion is: We don’t know. There were so many questions about the quality of the investigation itself here. There was a glaring conflict of interest in this particular case, as we talked about earlier: Steven Avery had a $36 million lawsuit pending against … this county and former members of law enforcement. And here he was, back in the same system, charged with a serious crime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Demos: \u003c/strong>One of the things I learned from making this film is — through all of this and all of these different points of view — the humility to accept that I don’t know. And what seems more important to me is to be able to trust the process. \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=Over+10+Years%2C+2+Filmmakers+Documented+The+%27Making%27+Of+A+Murderer+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The era of the real-life whodunit\u003csup>\u003c/sup> series is upon us. The podcast \u003ca href=\"https://serialpodcast.org/season-one/1/the-alibi\" target=\"_blank\" rel=\"noopener\">Serial\u003c/a> first attracted legions of listeners drawn to the question of whether a young man should have been put in prison for the murder of his former high school girlfriend. HBO’s documentary \u003ca href=\"http://www.thejinxhbo.com/\" target=\"_blank\" rel=\"noopener\">The Jinx\u003c/a> focused on a trail of murdered and missing intimates of a troubled scion of a wealthy family.\u003c/p>\n\u003cp>Now, there’s the new Netflix series, \u003cem>Making a Murderer, \u003c/em>about a man named Steven Avery. In 2003, after 18 years in prison, DNA evidence proved Avery didn’t commit the brutal sexual assault he’d been accused of. Avery was freed, and it appeared that a long injustice had finally come to end.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/461908092/461997787\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In the 10 years Moira Demos and Laura Ricciardi spent making this 10-part series, they came to know Avery and his world in rural Manitowoc County, Wis.\u003c/p>\n\u003cp>“This is a part of the country that’s dominated by dairy farms, and his family ran the junkyard,” Demos tells NPR’s Renee Montagne. “He grew up working on his family’s salvage yard, he did not graduate high school. … They were sort of the marginalized folk from the wrong side of the tracks.”\u003c/p>\n\u003cfigure id=\"attachment_11222929\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b.jpg\" rel=\"attachment wp-att-11222929\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg\" alt=\"Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of 'Making a Murderer.'\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-11222929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of ‘Making a Murderer.’ \u003ccite>(Courtesy: Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a teenager, Demos says, Avery made a series of bad choices — for example, burglarizing a local tavern with his friends. “These are felonies, but when you look at the actual report, it’s about breaking in and making a cheese sandwich and stealing some beer,” Demos says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the accusations against Avery were about to get much more serious. A feud with his own cousin escalated to the point that she was spreading nasty and humiliating rumors about him. Avery had had enough, and one night he ran her off a country road and pointed a gun at her. He says the gun wasn’t loaded, but she was the wrong person to intimidate. “She was married to a sheriff’s deputy, and there’s certainly a line that he crossed there, that it became personal,” Demos says.\u003c/p>\n\u003cp>Not long after, a prominent woman in the town was sexually attacked and badly beaten while jogging along the lake. Avery was arrested just hours later. The documentary follows in great detail how detectives went about making the charges stick, even ignoring the suggestion by one officer that a known violent sex offender was responsible.\u003c/p>\n\u003cp>When Avery was exonerated by DNA evidence in 2003, he returned home to a crush of cameras and a family who always believed he was innocent. A series of damning news reports detailed how Avery had been railroaded, and he sued the county sheriff’s department.\u003c/p>\n\u003cp>Kim Ducat — a family member — believes that came back to haunt him. “They weren’t going to hand that man $36 million,” she says. “They weren’t going to be made a laughing stock — that’s for sure. … Something in my gut said: They’re not done with him. Something’s going to happen.”\u003c/p>\n\u003cp>Ducat was right. One of the most compelling elements of the series is how quickly Avery goes from being a local celebrity for his long-overdue release to someone who — just two years later — goes on trial for a grisly murder.\u003c/p>\n\u003cp>“We read the \u003cem>New York Times\u003c/em> headline \u003ca href=\"http://www.nytimes.com/2005/11/23/us/freed-by-dna-now-charged-in-new-crime.html\" target=\"_blank\" rel=\"noopener\">‘Freed by DNA, Now Charged in New Crime’\u003c/a> and immediately we recognized this as an unprecedented story,” Demos says. “But what we really recognized in Steven’s story was this valuable window through which to look at our system.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On parallels between the first and second case\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> We were trying really to explore the extent to which history might have been repeating itself here. Steven in the first case was arrested the very same day the victim was attacked, in just a matter of hours. … He had a pretty ironclad alibi — he was accounted for every minute of the day before the victim was attacked all the way through the time that law enforcement arrives at his house to arrest him.\u003c/p>\n\u003cp>So there was an interesting parallel between the arc of the first case and the arc of the second case and how law enforcement arguably handled both cases. And that got back to our original question of: Has the system evolved, and, if it has evolved, is anything now in place that wasn’t 20 years prior to stop a wrongful conviction from occurring?\u003c/p>\n\u003cp>\u003cstrong>On how the filmmakers got access \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> The way we reached out to potential subjects was to write letters to them. Letters of introduction to tell them why we thought they would have a valuable place in the story. We were really interested in hearing people’s firsthand accounts.\u003c/p>\n\u003cp>\u003cstrong>Demos:\u003c/strong> We were graduate film students at the time we started this, and we had no money, but what we did have was time. So we moved to Wisconsin. We lived there for nearly two years. So, you know, we were on the ground, there to cover anything that was happening, but also there to do research and to build relationships.\u003c/p>\n\u003cp>\u003cstrong>On whether they think Avery is innocent\u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> My opinion is: We don’t know. There were so many questions about the quality of the investigation itself here. There was a glaring conflict of interest in this particular case, as we talked about earlier: Steven Avery had a $36 million lawsuit pending against … this county and former members of law enforcement. And here he was, back in the same system, charged with a serious crime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Demos: \u003c/strong>One of the things I learned from making this film is — through all of this and all of these different points of view — the humility to accept that I don’t know. And what seems more important to me is to be able to trust the process. \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=Over+10+Years%2C+2+Filmmakers+Documented+The+%27Making%27+Of+A+Murderer+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How Senior Fashion is Turning Heads in San Francisco's Chinatown",
"headTitle": "How Senior Fashion is Turning Heads in San Francisco’s Chinatown | KQED",
"content": "\u003cp>Furry hats, custom bags, hand-sewn sweaters, and lots of wild prints. These bold fashions are all the rage among the elders of San Francisco’s Chinatown.\u003c/p>\n\u003cfigure id=\"attachment_11152190\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck.jpg\" rel=\"attachment wp-att-11152190\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck-400x533.jpg\" alt=\"Buck Chew at the opening of the Chinatown Pretty exhibit at 41 Ross Alley.\" width=\"400\" height=\"533\" class=\"size-thumbnail wp-image-11152190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Buck Chew at the opening of the Chinatown Pretty exhibit at 41 Ross Alley. \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographer Andria Lo and writer Valerie Luu are chronicling senior style in the neighborhood with their \u003cem>\u003ca href=\"http://chinatownpretty.com/\" target=\"_blank\" rel=\"noopener\">Chinatown Pretty\u003c/a> \u003c/em>fashion and storytelling project. These days Lo and Luu spend most weekends in Chinatown learning about local style. \u003c/p>\n\u003cp>“Purple is really big in Chinatown,” Luu says. “Sometimes people wear four shades in one outfit. There’s a lot of cane fashion, too, like floral walking canes. Men usually wear monochromatic outfits. You see lots of baseball caps and sneakers — borderline hip hop fashion.”\u003c/p>\n\u003cp>Lo and Luu were inspired to create the project while Luu was living in Chinatown.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/239729155″ 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>“Many mornings I would sit in Réveille Coffee, journaling and watching people get off the bus,” Luu says. “I would always notice this woman wearing bright green jade sneakers with this 1980s speckled print. It looked young and fresh but I could tell she was a senior based on her silver bob. She was my fashion missed connection.”\u003c/p>\n\u003cfigure id=\"attachment_11152188\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Man-Ta.jpg\" rel=\"attachment wp-att-11152188\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Man-Ta-400x600.jpg\" alt=\"Man Ta, the woman in the Jade Shoes, is the posterwoman for Chinatown Pretty\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-11152188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-1180x1769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Man Ta, the woman in the Jade Shoes, is the posterwoman for Chinatown Pretty \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luu met the woman in the Jade shoes a couple of months later. Her name is Man Ta and she became the poster child for \u003cem>Chinatown Pretty\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project started as a \u003ca href=\"http://www.thebolditalic.com/articles/4703-chinatown-sartorialist\" target=\"_blank\" rel=\"noopener\">single article\u003c/a> for\u003ci> the Bold Italic,\u003c/i> a local culture website. Then \u003ca href=\"http://www.chinatowncdc.org/\" target=\"_blank\" rel=\"noopener\">the Chinatown Community Development Center\u003c/a> (CCDC) caught wind of it.\u003c/p>\n\u003cp>“Somehow we landed on their website and we said, ‘gee this is interesting!’ says Cathie Lam, senior community organizer for CCDC. “We kinda hit a pot of gold!” \u003c/p>\n\u003cp>The CCDC asked Luu and Lo to turn \u003cem>Chinatown Pretty\u003c/em> into a photo exhibition and blog. This is in conjunction with a shop Chinatown initiative, which aims to boost business during the holiday season. Lam says the project comes at a time when neighborhood culture and commerce are being threatened by development. \u003c/p>\n\u003cfigure id=\"attachment_11224959\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1.jpg\" rel=\"attachment wp-att-11224959\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-1180x885.jpg\" alt=\"Photographer Andria Lo in Chinatown\" width=\"640\" height=\"480\" class=\"size-large wp-image-11224959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photographer Andria Lo in Chinatown \u003ccite>(Photo: Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The commerce has been affected by the construction especially along Stockton street,” Lam says.\u003c/p>\n\u003cfigure id=\"attachment_11152191\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Julie-Fong.jpg\" rel=\"attachment wp-att-11152191\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Julie-Fong-400x600.jpg\" alt=\"Julie Fong wears a handmade corduroy top. She’s been living in Chinatown for over 50 years.\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-11152191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Julie Fong wears a handmade corduroy top. She’s been living in Chinatown for over 50 years. \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lam thinks fashion can help draw attention to the personality of the neighborhood.\u003c/p>\n\u003cp>“You know fashion is a very common commodity, or a common thread to help people to see behind all the neon signs, that there are human beings living in Chinatown very actively,” Lam says.\u003c/p>\n\u003cp>“What I like about Chinatown culture and the seniors that live here is that they are out there,” Luu says. “A lot of people are 80 plus and more active than we are. And can actually can outrun us.” \u003c/p>\n\u003cp>Both Luu and Lo are Asian, but neither speaks Cantonese, so they usually hit the streets of Chinatown accompanied by a translator. Every weekend they ask dozens of people to share their story and pose for a picture. But for every “yes”, they get about ten “no’s.”\u003c/p>\n\u003cfigure id=\"attachment_11224961\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2.jpg\" rel=\"attachment wp-att-11224961\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-1180x885.jpg\" alt=\"Writer Valerie Luu of Chinatown Pretty\" width=\"640\" height=\"480\" class=\"size-large wp-image-11224961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Writer Valerie Luu of Chinatown Pretty \u003ccite>(Photo: Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re keeping a log of common excuses,” Lo says. “I’m going grocery shopping right now; my knees hurt; I can’t hear very well. It’s really rewarding when we are able to connect and get their story.”\u003c/p>\n\u003cfigure id=\"attachment_11152192\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Joyce-Wing.jpg\" rel=\"attachment wp-att-11152192\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Joyce-Wing-400x600.jpg\" alt=\"A photo of Joyce Wing from the Chinatown Pretty blog.\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-11152192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing.jpg 1080w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A photo of Joyce Wing from the Chinatown Pretty blog \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project bears some similarity to \u003cem>\u003ca href=\"http://accidentalchinesehipsters.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Accidental Chinese Hipster\u003c/a>, \u003c/em>a blog that pokes fun at Asian fashion and its likeness to hipster style. Luu and Lo say their project is different. \u003cem>Chinatown Pretty\u003c/em> focuses on beautiful portraits \u003cem>and\u003c/em> subject interviews. \u003cspan style=\"font-weight: 400\">Lo says hearing people’s stories is as important as taking stock of their style.\u003c/span>\u003c/p>\n\u003cp>“We often ask them how did you come to America?” Lo says. “And a lot of times they’ll talk about ‘oh well we made this shirt because we worked in a factory 30 years ago.’ It has revealed a lot about the history of Chinatown. And the immigration stories are really interesting.”\u003c/p>\n\u003cp>The women hope to expand the project beyond San Francisco. Their dream is to visit Chinatowns across the country — from Los Angeles to New York.\u003c/p>\n\u003cfigure id=\"attachment_11152189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit.jpg\" rel=\"attachment wp-att-11152189\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit-800x533.jpg\" alt=\"The opening of Chinatown Pretty exhibit.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11152189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The opening of Chinatown Pretty exhibit \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Chinatown Pretty exhibition is on view in San Francisco’s Chinatown at 41 Ross Alley through February 28, 2016. \u003c/em>\u003c/p>\n\n",
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"excerpt": "A new blog and accompanying exhibition celebrates the vibrant style of elders in one of San Francisco's most fast-changing neighborhoods.",
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"title": "How Senior Fashion is Turning Heads in San Francisco's Chinatown | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Furry hats, custom bags, hand-sewn sweaters, and lots of wild prints. These bold fashions are all the rage among the elders of San Francisco’s Chinatown.\u003c/p>\n\u003cfigure id=\"attachment_11152190\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck.jpg\" rel=\"attachment wp-att-11152190\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck-400x533.jpg\" alt=\"Buck Chew at the opening of the Chinatown Pretty exhibit at 41 Ross Alley.\" width=\"400\" height=\"533\" class=\"size-thumbnail wp-image-11152190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Buck Chew at the opening of the Chinatown Pretty exhibit at 41 Ross Alley. \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographer Andria Lo and writer Valerie Luu are chronicling senior style in the neighborhood with their \u003cem>\u003ca href=\"http://chinatownpretty.com/\" target=\"_blank\" rel=\"noopener\">Chinatown Pretty\u003c/a> \u003c/em>fashion and storytelling project. These days Lo and Luu spend most weekends in Chinatown learning about local style. \u003c/p>\n\u003cp>“Purple is really big in Chinatown,” Luu says. “Sometimes people wear four shades in one outfit. There’s a lot of cane fashion, too, like floral walking canes. Men usually wear monochromatic outfits. You see lots of baseball caps and sneakers — borderline hip hop fashion.”\u003c/p>\n\u003cp>Lo and Luu were inspired to create the project while Luu was living in Chinatown.\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/239729155″&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/239729155″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Many mornings I would sit in Réveille Coffee, journaling and watching people get off the bus,” Luu says. “I would always notice this woman wearing bright green jade sneakers with this 1980s speckled print. It looked young and fresh but I could tell she was a senior based on her silver bob. She was my fashion missed connection.”\u003c/p>\n\u003cfigure id=\"attachment_11152188\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Man-Ta.jpg\" rel=\"attachment wp-att-11152188\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Man-Ta-400x600.jpg\" alt=\"Man Ta, the woman in the Jade Shoes, is the posterwoman for Chinatown Pretty\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-11152188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-1180x1769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Man Ta, the woman in the Jade Shoes, is the posterwoman for Chinatown Pretty \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luu met the woman in the Jade shoes a couple of months later. Her name is Man Ta and she became the poster child for \u003cem>Chinatown Pretty\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project started as a \u003ca href=\"http://www.thebolditalic.com/articles/4703-chinatown-sartorialist\" target=\"_blank\" rel=\"noopener\">single article\u003c/a> for\u003ci> the Bold Italic,\u003c/i> a local culture website. Then \u003ca href=\"http://www.chinatowncdc.org/\" target=\"_blank\" rel=\"noopener\">the Chinatown Community Development Center\u003c/a> (CCDC) caught wind of it.\u003c/p>\n\u003cp>“Somehow we landed on their website and we said, ‘gee this is interesting!’ says Cathie Lam, senior community organizer for CCDC. “We kinda hit a pot of gold!” \u003c/p>\n\u003cp>The CCDC asked Luu and Lo to turn \u003cem>Chinatown Pretty\u003c/em> into a photo exhibition and blog. This is in conjunction with a shop Chinatown initiative, which aims to boost business during the holiday season. Lam says the project comes at a time when neighborhood culture and commerce are being threatened by development. \u003c/p>\n\u003cfigure id=\"attachment_11224959\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1.jpg\" rel=\"attachment wp-att-11224959\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-1180x885.jpg\" alt=\"Photographer Andria Lo in Chinatown\" width=\"640\" height=\"480\" class=\"size-large wp-image-11224959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photographer Andria Lo in Chinatown \u003ccite>(Photo: Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The commerce has been affected by the construction especially along Stockton street,” Lam says.\u003c/p>\n\u003cfigure id=\"attachment_11152191\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Julie-Fong.jpg\" rel=\"attachment wp-att-11152191\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Julie-Fong-400x600.jpg\" alt=\"Julie Fong wears a handmade corduroy top. She’s been living in Chinatown for over 50 years.\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-11152191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Julie Fong wears a handmade corduroy top. She’s been living in Chinatown for over 50 years. \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lam thinks fashion can help draw attention to the personality of the neighborhood.\u003c/p>\n\u003cp>“You know fashion is a very common commodity, or a common thread to help people to see behind all the neon signs, that there are human beings living in Chinatown very actively,” Lam says.\u003c/p>\n\u003cp>“What I like about Chinatown culture and the seniors that live here is that they are out there,” Luu says. “A lot of people are 80 plus and more active than we are. And can actually can outrun us.” \u003c/p>\n\u003cp>Both Luu and Lo are Asian, but neither speaks Cantonese, so they usually hit the streets of Chinatown accompanied by a translator. Every weekend they ask dozens of people to share their story and pose for a picture. But for every “yes”, they get about ten “no’s.”\u003c/p>\n\u003cfigure id=\"attachment_11224961\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2.jpg\" rel=\"attachment wp-att-11224961\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-1180x885.jpg\" alt=\"Writer Valerie Luu of Chinatown Pretty\" width=\"640\" height=\"480\" class=\"size-large wp-image-11224961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Writer Valerie Luu of Chinatown Pretty \u003ccite>(Photo: Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re keeping a log of common excuses,” Lo says. “I’m going grocery shopping right now; my knees hurt; I can’t hear very well. It’s really rewarding when we are able to connect and get their story.”\u003c/p>\n\u003cfigure id=\"attachment_11152192\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Joyce-Wing.jpg\" rel=\"attachment wp-att-11152192\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Joyce-Wing-400x600.jpg\" alt=\"A photo of Joyce Wing from the Chinatown Pretty blog.\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-11152192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing.jpg 1080w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A photo of Joyce Wing from the Chinatown Pretty blog \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project bears some similarity to \u003cem>\u003ca href=\"http://accidentalchinesehipsters.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Accidental Chinese Hipster\u003c/a>, \u003c/em>a blog that pokes fun at Asian fashion and its likeness to hipster style. Luu and Lo say their project is different. \u003cem>Chinatown Pretty\u003c/em> focuses on beautiful portraits \u003cem>and\u003c/em> subject interviews. \u003cspan style=\"font-weight: 400\">Lo says hearing people’s stories is as important as taking stock of their style.\u003c/span>\u003c/p>\n\u003cp>“We often ask them how did you come to America?” Lo says. “And a lot of times they’ll talk about ‘oh well we made this shirt because we worked in a factory 30 years ago.’ It has revealed a lot about the history of Chinatown. And the immigration stories are really interesting.”\u003c/p>\n\u003cp>The women hope to expand the project beyond San Francisco. Their dream is to visit Chinatowns across the country — from Los Angeles to New York.\u003c/p>\n\u003cfigure id=\"attachment_11152189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit.jpg\" rel=\"attachment wp-att-11152189\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit-800x533.jpg\" alt=\"The opening of Chinatown Pretty exhibit.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11152189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The opening of Chinatown Pretty exhibit \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Chinatown Pretty exhibition is on view in San Francisco’s Chinatown at 41 Ross Alley through February 28, 2016. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Paul Bley, Spacious and Lyrical Jazz Pianist, Dies at 83",
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"content": "\u003cp>Paul Bley, the jazz pianist whose recordings in the 1960s and 1970s helped redefine lyricism in jazz, has died. He was 83.\u003c/p>\n\u003cp>Born in Montreal, Bley in his early career played with Charlie Parker and recorded with Charles Mingus and Jimmy Giuffre. His early solo recordings for ESP-Disk Records introduced an understated tenderness to the anarchic music prevalent on the free-jazz label; he would later move to ECM and, with the 1973 release of \u003cem>Open, To Love\u003c/em>, usher in what came to be called “the ECM sound.” Bley’s performances of compositions by former wife Carla Bley and colleague Annette Peacock also introduced two female composers into the jazz repertoire; a rarity in the era. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EYnrtXiA0TA\u003c/p>\n\u003cp>Bley continued to record and tour internationally, and in 2009 he released an autobiography, \u003cem>Stopping Time: Paul Bley and the Transformation of Jazz\u003c/em>.\u003c/p>\n\u003cp>Bley’s family released a statement, as follows:\u003c/p>\n\u003cblockquote>\u003cp>Paul Bley, renowned jazz pianist, died January 3, 2016 at home with his family. Born November 10, 1932 in Montreal, QC, he began music studies at the age of five. At 13, he formed the “Buzzy Bley Band.” At 17, he took over for Oscar Peterson at the Alberta Lounge, invited Charlie Parker to play at the Montreal Jazz Workshop, which he co-founded, made a film with Stan Kenton and then headed to NYC to attend Julliard.\u003c/p>\n\u003cp>His international career has spanned seven decades. He’s played and recorded with Lester Young, Ben Webster, Sonny Rollins, Charles Mingus, Chet Baker, Jimmy Giuffre, Charlie Haden, Paul Motian, Lee Konitz, Pat Metheny, Jaco Pastorious and many others. He is considered a master of the trio, but as exemplified by his solo piano albums, Paul Bley is preeminently a pianists’ pianist.\u003c/p>\n\u003cp>He is survived by his wife of forty three years, Carol Goss, their daughters, Vanessa Bley and Angelica Palmer, grandchildren Felix and Zoletta Palmer, as well as daughter, Solo Peacock. Private memorial services will be held in Stuart, FL, Cherry Valley, NY and wherever you play a Paul Bley record. \u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=bO8SET56s0Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Bley, the jazz pianist whose recordings in the 1960s and 1970s helped redefine lyricism in jazz, has died. He was 83.\u003c/p>\n\u003cp>Born in Montreal, Bley in his early career played with Charlie Parker and recorded with Charles Mingus and Jimmy Giuffre. His early solo recordings for ESP-Disk Records introduced an understated tenderness to the anarchic music prevalent on the free-jazz label; he would later move to ECM and, with the 1973 release of \u003cem>Open, To Love\u003c/em>, usher in what came to be called “the ECM sound.” Bley’s performances of compositions by former wife Carla Bley and colleague Annette Peacock also introduced two female composers into the jazz repertoire; a rarity in the era. \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/EYnrtXiA0TA'\n title='//www.youtube.com/embed/EYnrtXiA0TA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bley continued to record and tour internationally, and in 2009 he released an autobiography, \u003cem>Stopping Time: Paul Bley and the Transformation of Jazz\u003c/em>.\u003c/p>\n\u003cp>Bley’s family released a statement, as follows:\u003c/p>\n\u003cblockquote>\u003cp>Paul Bley, renowned jazz pianist, died January 3, 2016 at home with his family. Born November 10, 1932 in Montreal, QC, he began music studies at the age of five. At 13, he formed the “Buzzy Bley Band.” At 17, he took over for Oscar Peterson at the Alberta Lounge, invited Charlie Parker to play at the Montreal Jazz Workshop, which he co-founded, made a film with Stan Kenton and then headed to NYC to attend Julliard.\u003c/p>\n\u003cp>His international career has spanned seven decades. He’s played and recorded with Lester Young, Ben Webster, Sonny Rollins, Charles Mingus, Chet Baker, Jimmy Giuffre, Charlie Haden, Paul Motian, Lee Konitz, Pat Metheny, Jaco Pastorious and many others. He is considered a master of the trio, but as exemplified by his solo piano albums, Paul Bley is preeminently a pianists’ pianist.\u003c/p>\n\u003cp>He is survived by his wife of forty three years, Carol Goss, their daughters, Vanessa Bley and Angelica Palmer, grandchildren Felix and Zoletta Palmer, as well as daughter, Solo Peacock. Private memorial services will be held in Stuart, FL, Cherry Valley, NY and wherever you play a Paul Bley record. \u003c/p>\u003c/blockquote>\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/bO8SET56s0Y'\n title='//www.youtube.com/embed/bO8SET56s0Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Impact Theatre, a small basement venue in Berkeley for up-and-comers in the Bay Area theater scene, will be shutting down after 20 years, according to its directors.\u003c/p>\n\u003cp>Once their 20th season concludes in June of 2016, artistic director Melissa Hillman and managing director Cheshire Isaacs plan to vacate their theater space, which is located in the basement of La Val’s Pizza, on the northside of Cal’s campus.\u003c/p>\n\u003cp>Lagging ticket sales, a lack of available grants, and the consequences of losing a license for a play they planned to run last November and December led to the decision to leave the space that, for so long, was a springboard into theater, for artists and audience members alike.\u003c/p>\n\u003cp>“We’re stuck in a weird financial place because most grants require you to have an annual budget of $100,000 or more,” \u003ca href=\"http://www.mercurynews.com/news/ci_29331925/berkeleys-impact-theatre-will-close-in-mid2016?source=infinite-up\" target=\"_blank\" rel=\"noopener\">Hillman told the San Jose Mercury New\u003c/a>s. “And we can’t make enough in ticket sales to grow. All that money to grow comes from grants and donations, and when we’re doing new plays by emerging playwrights in a basement with pizza and beer, our audience always skews really young, and those people just don’t have a lot of money. That was the audience we wanted, that was the audience we went for, and that was part of the whole point of keeping ticket prices accessible.”\u003c/p>\n\u003cp>Started in 1996, the theater would go on to produce a wide variety of plays and performance art, much of it youth-oriented (works about role-playing games and pop idols, for example) and experimental. Impact was also a launchpad for many who would make name for themselves in theater world, including its co-founding artistic director Josh Costello, who has gone on to become an in-demand director in the Bay Area and beyond.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This makes me so very sad to hear,” director Evren Odckin wrote on his \u003ca href=\"https://www.facebook.com/odcikin/posts/10153165774872665?pnref=story\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> when sharing the Mercury article. “Impact was an essential point of entry for many emerging artists in the Bay Area. I am so thankful to this company, and specifically to Melissa Hillman and Cheshire Isaacs for working endlessly (and for no money) supporting the careers of so many up-and-coming artists, including mine.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hillman and Isaacs say they plan on producing more plays in the future — but less frequently, since they won’t have to worry about paying rent any more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Impact Theatre, a small basement venue in Berkeley for up-and-comers in the Bay Area theater scene, will be shutting down after 20 years, according to its directors.\u003c/p>\n\u003cp>Once their 20th season concludes in June of 2016, artistic director Melissa Hillman and managing director Cheshire Isaacs plan to vacate their theater space, which is located in the basement of La Val’s Pizza, on the northside of Cal’s campus.\u003c/p>\n\u003cp>Lagging ticket sales, a lack of available grants, and the consequences of losing a license for a play they planned to run last November and December led to the decision to leave the space that, for so long, was a springboard into theater, for artists and audience members alike.\u003c/p>\n\u003cp>“We’re stuck in a weird financial place because most grants require you to have an annual budget of $100,000 or more,” \u003ca href=\"http://www.mercurynews.com/news/ci_29331925/berkeleys-impact-theatre-will-close-in-mid2016?source=infinite-up\" target=\"_blank\" rel=\"noopener\">Hillman told the San Jose Mercury New\u003c/a>s. “And we can’t make enough in ticket sales to grow. All that money to grow comes from grants and donations, and when we’re doing new plays by emerging playwrights in a basement with pizza and beer, our audience always skews really young, and those people just don’t have a lot of money. That was the audience we wanted, that was the audience we went for, and that was part of the whole point of keeping ticket prices accessible.”\u003c/p>\n\u003cp>Started in 1996, the theater would go on to produce a wide variety of plays and performance art, much of it youth-oriented (works about role-playing games and pop idols, for example) and experimental. Impact was also a launchpad for many who would make name for themselves in theater world, including its co-founding artistic director Josh Costello, who has gone on to become an in-demand director in the Bay Area and beyond.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This makes me so very sad to hear,” director Evren Odckin wrote on his \u003ca href=\"https://www.facebook.com/odcikin/posts/10153165774872665?pnref=story\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> when sharing the Mercury article. “Impact was an essential point of entry for many emerging artists in the Bay Area. I am so thankful to this company, and specifically to Melissa Hillman and Cheshire Isaacs for working endlessly (and for no money) supporting the careers of so many up-and-coming artists, including mine.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hillman and Isaacs say they plan on producing more plays in the future — but less frequently, since they won’t have to worry about paying rent any more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tens of thousands of Burning Man fans are waiting for 2016 tickets to go on sale, but first, they’ll have to wait for the non-profit to resolve a tax dispute with Nevada. The non-profit that runs Burning Man is appealing a new tax that could cost nearly $3 million.\u003c/p>\n\u003cp>Ray Allen is general counsel for the \u003ca href=\"http://burningman.org/culture/history/brc-history/afterburn/2013-2/related/burning-man-project/\" target=\"_blank\" rel=\"noopener\">Burning Man Project\u003c/a>, which organizes the massive dessert gathering in the Black Rock Desert, along with a growing number of baby Burning Mans elsewhere in the world. Allen says Nevada tweaked its live entertainment tax last year, “but it didn’t seem to apply to us because it mostly had to do with live entertainment. And Burning Man is not a concert. It’s not an arena event. It’s not a casino show. At Burning Man, people come for the experience that they bring themselves.”\u003c/p>\n\u003cp>[contextly_sidebar id=”gI3AFBFMPiFMSUuU7PaXNyZJHTvRI05t”]\u003c/p>\n\u003cp>Burning Man, Allen says, creates a venue where live entertainment happens, like porta-potties, roads, and medical services.\u003c/p>\n\u003cp>“Obviously, some of our members do things that others may find entertaining,” Allen said. “However, the statute says that the organization that’s going to be taxed has to provide those activities. Our organization, we provide infrastructure.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So Burning Man \u003ca href=\"http://ww2.kqed.org/arts/2015/12/14/burning-man-challenging-nevadas-live-entertainment-tax/\" target=\"_blank\" rel=\"noopener\">appealed\u003c/a>, estimating the tax change could cost $2.9 million. That could force the Project to raise ticket prices by as much as $35 above last year’s main sale price of roughly $390. That’s a steep entry fee for a week in a no-commerce zone where participants give away everything for free.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/240370511″ 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>Eric Evans of Mountain View has gone to Black Rock City for the last three years as part of Camp Hardly, one of about 50 camps from the \u003ca href=\"http://www.southbayburners.org/camps.html\" target=\"_blank\" rel=\"noopener\">South Bay\u003c/a>. Camp Hardly stages a Western-themed whiskey saloon.\u003c/p>\n\u003cp>Evans says the tax is objectionable. “It is a relatively small cost. However, one of the big things about tax is, it should be applied fairly.”\u003c/p>\n\u003cp>A civil engineer off the Playa, Evans feels differently about the $40 vehicle pass introduced in 2014. That, he says, was fair “as a way to reduce the total number of vehicles going to the event and to encourage car-pooling.”\u003c/p>\n\u003cfigure id=\"attachment_11209653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11209653\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/2013-Burning-Man-006-800x450.jpg\" alt=\"Camp Hardly runs a popular whiskey bar at Burning Man.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/2013-Burning-Man-006-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/2013-Burning-Man-006-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/2013-Burning-Man-006-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/2013-Burning-Man-006-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/2013-Burning-Man-006-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/2013-Burning-Man-006-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Camp Hardly runs a popular whiskey bar at Burning Man. \u003ccite>(Courtesy of Eric Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But he’d rather pay the tax than see Burning Man move someplace else, like Utah.\u003c/p>\n\u003cp>“No matter how unfair it may be, I think it would be the least difficulty for the participants if we just grudgingly accepted a tax,” Evans says.\u003c/p>\n\u003cp>The tickets are already too expensive for many attendees. Summer Love, a Los Gatos resident, was gifted her first ticket, and heartily wishes that would happen again. She comes to Burning Man with \u003ca href=\"http://www.salonsoleil.org/\" target=\"_blank\" rel=\"noopener\">Salon Soleil\u003c/a>, a space hosting philosophical, salon-style discussions on the Playa.\u003c/p>\n\u003cp>“Burning Man’s principle of gifting is a wonderful, Utopian experience that I do cherish,” Love says, “but the actual amount of money it takes to go is quite considerable.” Travel, food, shelter, water, ice all add up, she says, not to mention the cost of putting on a show for yourself and others, with costume, lights, art cars, et cetera.\u003c/p>\n\u003cp>\u003cstrong>The State Bill That Changed the Rules\u003c/strong>\u003c/p>\n\u003cp>Before \u003ca href=\"https://www.leg.state.nv.us/Session/78th2015/Bills/SB/SB266_EN.pdf\" target=\"_blank\" rel=\"noopener\">SB 266\u003c/a>, Burning Man was exempt from the tax as a 501(c)3 non-profit. Now, the exclusion from the tax no longer applies to non-profits who offer for sale 7,500 tickets or more and where the patrons participate in that entertainment and, “the number of tickets to the activity offered for sale or other distribution is 15,000 or more.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Burning-Man-letter-to-Nevada-Department-of-Taxation.pdf\" target=\"_blank\" rel=\"noopener\">Click here to read Burning Man’s letter to the Nevada Department of Taxation\u003c/a>\u003c/p>\n\u003cp>Nevada tax officials declined to comment specifically about the Burning Man Project’s appeal, citing confidentiality rules, but a spokeswoman would say the department will make every effort to respond by the end of January.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DHW8zydRV4M\u003c/p>\n\u003cp>From its modest beginning as a 35-person party on San Franciso’s Baker Beach in 1986, the event has grown exponentially. Brian Doherty in his book \u003ca href=\"https://books.google.com/books/about/This_is_Burning_Man.html?id=55VQ2bcgs9QC\" target=\"_blank\" rel=\"noopener\">\u003cem>This is Burning Man\u003c/em>\u003c/a> explains media coverage helped turn a little underground event favored by ravers into what \u003cem>Time Magazine\u003c/em> dubbed the “\u003ca href=\"http://content.time.com/time/magazine/article/0,9171,986891,00.html\" target=\"_blank\" rel=\"noopener\">bonfire of the techies\u003c/a>” in 1997.\u003c/p>\n\u003cp>Burning Man does pay taxes to the BLM for using the land. It’s the largest Special Recreation Permit in the United States. Roughly 66,000 people attended in 2014. The nonprofit that year was worth $9.6 million, according to tax forms filed with the IRS.\u003c/p>\n\u003cp>Allen says Burning Man brings in $50 million to the state of Nevada, including $10 million that event organizers spend on contracts in Nevada. As Burning Man grows, so do the attempts to get a piece of the action. Back in August, the US Bureau of Land Management backed away from a request for Burning Man to pay for a $1 million on site headquarter for law enforcement, plus a “Blue Pit Compound” to house those officers and officials from Washington, D.C, plus 24-hour access to ice cream, according to the \u003ca href=\"http://www.rgj.com/story/life/arts/burning-man/2015/08/07/blm-scraps-burning-man-vip-compound-grants-permit/31326665/\" target=\"_blank\" rel=\"noopener\">\u003cem>Reno Gazette-Journal\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A decision against Burning Man could lead to another appeal. Could that process put ticket sales on hold for months? Years? “Hopefully not,” says Allen. “Burning Man has a very good record of working and collaborating with the state agencies, and federal and local agencies that permit the event. So I’m hopeful that this will get resolved very soon.”\u003c/p>\n\u003cfigure id=\"attachment_11209661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11209661\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RS17935_NEIL_GIRLING158758-qut-800x533.jpg\" alt=\"More than 65,000 people regularly attend Burning Man, which takes place over a week in Black Rock Desert. It's the largest Special Recreation Permit the Bureau of Land Management grants.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RS17935_NEIL_GIRLING158758-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RS17935_NEIL_GIRLING158758-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RS17935_NEIL_GIRLING158758-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RS17935_NEIL_GIRLING158758-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RS17935_NEIL_GIRLING158758-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RS17935_NEIL_GIRLING158758-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">More than 65,000 people regularly attend Burning Man, which takes place over a week in Black Rock Desert. It’s the largest Special Recreation Permit the Bureau of Land Management grants. \u003ccite>(Courtesy of Neil Girling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tens of thousands of Burning Man fans are waiting for 2016 tickets to go on sale, but first, they’ll have to wait for the non-profit to resolve a tax dispute with Nevada. The non-profit that runs Burning Man is appealing a new tax that could cost nearly $3 million.\u003c/p>\n\u003cp>Ray Allen is general counsel for the \u003ca href=\"http://burningman.org/culture/history/brc-history/afterburn/2013-2/related/burning-man-project/\" target=\"_blank\" rel=\"noopener\">Burning Man Project\u003c/a>, which organizes the massive dessert gathering in the Black Rock Desert, along with a growing number of baby Burning Mans elsewhere in the world. Allen says Nevada tweaked its live entertainment tax last year, “but it didn’t seem to apply to us because it mostly had to do with live entertainment. And Burning Man is not a concert. It’s not an arena event. It’s not a casino show. At Burning Man, people come for the experience that they bring themselves.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Burning Man, Allen says, creates a venue where live entertainment happens, like porta-potties, roads, and medical services.\u003c/p>\n\u003cp>“Obviously, some of our members do things that others may find entertaining,” Allen said. “However, the statute says that the organization that’s going to be taxed has to provide those activities. Our organization, we provide infrastructure.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So Burning Man \u003ca href=\"http://ww2.kqed.org/arts/2015/12/14/burning-man-challenging-nevadas-live-entertainment-tax/\" target=\"_blank\" rel=\"noopener\">appealed\u003c/a>, estimating the tax change could cost $2.9 million. That could force the Project to raise ticket prices by as much as $35 above last year’s main sale price of roughly $390. That’s a steep entry fee for a week in a no-commerce zone where participants give away everything for free.\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/240370511″&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/240370511″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Eric Evans of Mountain View has gone to Black Rock City for the last three years as part of Camp Hardly, one of about 50 camps from the \u003ca href=\"http://www.southbayburners.org/camps.html\" target=\"_blank\" rel=\"noopener\">South Bay\u003c/a>. Camp Hardly stages a Western-themed whiskey saloon.\u003c/p>\n\u003cp>Evans says the tax is objectionable. “It is a relatively small cost. However, one of the big things about tax is, it should be applied fairly.”\u003c/p>\n\u003cp>A civil engineer off the Playa, Evans feels differently about the $40 vehicle pass introduced in 2014. That, he says, was fair “as a way to reduce the total number of vehicles going to the event and to encourage car-pooling.”\u003c/p>\n\u003cfigure id=\"attachment_11209653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11209653\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/2013-Burning-Man-006-800x450.jpg\" alt=\"Camp Hardly runs a popular whiskey bar at Burning Man.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/2013-Burning-Man-006-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/2013-Burning-Man-006-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/2013-Burning-Man-006-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/2013-Burning-Man-006-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/2013-Burning-Man-006-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/2013-Burning-Man-006-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Camp Hardly runs a popular whiskey bar at Burning Man. \u003ccite>(Courtesy of Eric Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But he’d rather pay the tax than see Burning Man move someplace else, like Utah.\u003c/p>\n\u003cp>“No matter how unfair it may be, I think it would be the least difficulty for the participants if we just grudgingly accepted a tax,” Evans says.\u003c/p>\n\u003cp>The tickets are already too expensive for many attendees. Summer Love, a Los Gatos resident, was gifted her first ticket, and heartily wishes that would happen again. She comes to Burning Man with \u003ca href=\"http://www.salonsoleil.org/\" target=\"_blank\" rel=\"noopener\">Salon Soleil\u003c/a>, a space hosting philosophical, salon-style discussions on the Playa.\u003c/p>\n\u003cp>“Burning Man’s principle of gifting is a wonderful, Utopian experience that I do cherish,” Love says, “but the actual amount of money it takes to go is quite considerable.” Travel, food, shelter, water, ice all add up, she says, not to mention the cost of putting on a show for yourself and others, with costume, lights, art cars, et cetera.\u003c/p>\n\u003cp>\u003cstrong>The State Bill That Changed the Rules\u003c/strong>\u003c/p>\n\u003cp>Before \u003ca href=\"https://www.leg.state.nv.us/Session/78th2015/Bills/SB/SB266_EN.pdf\" target=\"_blank\" rel=\"noopener\">SB 266\u003c/a>, Burning Man was exempt from the tax as a 501(c)3 non-profit. Now, the exclusion from the tax no longer applies to non-profits who offer for sale 7,500 tickets or more and where the patrons participate in that entertainment and, “the number of tickets to the activity offered for sale or other distribution is 15,000 or more.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Burning-Man-letter-to-Nevada-Department-of-Taxation.pdf\" target=\"_blank\" rel=\"noopener\">Click here to read Burning Man’s letter to the Nevada Department of Taxation\u003c/a>\u003c/p>\n\u003cp>Nevada tax officials declined to comment specifically about the Burning Man Project’s appeal, citing confidentiality rules, but a spokeswoman would say the department will make every effort to respond by the end of January.\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/DHW8zydRV4M'\n title='//www.youtube.com/embed/DHW8zydRV4M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From its modest beginning as a 35-person party on San Franciso’s Baker Beach in 1986, the event has grown exponentially. Brian Doherty in his book \u003ca href=\"https://books.google.com/books/about/This_is_Burning_Man.html?id=55VQ2bcgs9QC\" target=\"_blank\" rel=\"noopener\">\u003cem>This is Burning Man\u003c/em>\u003c/a> explains media coverage helped turn a little underground event favored by ravers into what \u003cem>Time Magazine\u003c/em> dubbed the “\u003ca href=\"http://content.time.com/time/magazine/article/0,9171,986891,00.html\" target=\"_blank\" rel=\"noopener\">bonfire of the techies\u003c/a>” in 1997.\u003c/p>\n\u003cp>Burning Man does pay taxes to the BLM for using the land. It’s the largest Special Recreation Permit in the United States. Roughly 66,000 people attended in 2014. The nonprofit that year was worth $9.6 million, according to tax forms filed with the IRS.\u003c/p>\n\u003cp>Allen says Burning Man brings in $50 million to the state of Nevada, including $10 million that event organizers spend on contracts in Nevada. As Burning Man grows, so do the attempts to get a piece of the action. Back in August, the US Bureau of Land Management backed away from a request for Burning Man to pay for a $1 million on site headquarter for law enforcement, plus a “Blue Pit Compound” to house those officers and officials from Washington, D.C, plus 24-hour access to ice cream, according to the \u003ca href=\"http://www.rgj.com/story/life/arts/burning-man/2015/08/07/blm-scraps-burning-man-vip-compound-grants-permit/31326665/\" target=\"_blank\" rel=\"noopener\">\u003cem>Reno Gazette-Journal\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A decision against Burning Man could lead to another appeal. Could that process put ticket sales on hold for months? Years? “Hopefully not,” says Allen. “Burning Man has a very good record of working and collaborating with the state agencies, and federal and local agencies that permit the event. So I’m hopeful that this will get resolved very soon.”\u003c/p>\n\u003cfigure id=\"attachment_11209661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11209661\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RS17935_NEIL_GIRLING158758-qut-800x533.jpg\" alt=\"More than 65,000 people regularly attend Burning Man, which takes place over a week in Black Rock Desert. It's the largest Special Recreation Permit the Bureau of Land Management grants.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RS17935_NEIL_GIRLING158758-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RS17935_NEIL_GIRLING158758-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RS17935_NEIL_GIRLING158758-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RS17935_NEIL_GIRLING158758-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RS17935_NEIL_GIRLING158758-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/RS17935_NEIL_GIRLING158758-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">More than 65,000 people regularly attend Burning Man, which takes place over a week in Black Rock Desert. It’s the largest Special Recreation Permit the Bureau of Land Management grants. \u003ccite>(Courtesy of Neil Girling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, the Library of Congress inaugurates a new national ambassador for young people’s literature: San Jose graphic novelist Gene Luen Yang.\u003c/p>\n\u003cp>Yang may be the first graphic novelist to hold this particular post, but he’s well known in the world of comics. Two of his books, \u003cem>\u003ca href=\"http://geneyang.com/american-born-chinese\" target=\"_blank\" rel=\"noopener\">American Born Chinese\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"http://geneyang.com/boxers-saints\" target=\"_blank\" rel=\"noopener\">Boxers & Saints\u003c/a>\u003c/em>, were nominated for National Book Awards. \u003cem>American Born Chinese\u003c/em> is also the only graphic novel to win the American Library Association’s Printz Award.\u003c/p>\n\u003cp>“In a lot of ways, I just feel like I was in the right place at the right time,” Yang says. “Historically in America, comics and ‘traditional books’ have been these two separate worlds. They really have been merging over the last decade or two. I think I’ve been a huge beneficiary of that.\u003c/p>\n\u003cp>Mark Siegel, editorial director at Yang’s home imprint, \u003ca href=\"http://www.firstsecondbooks.com/\" target=\"_blank\" rel=\"noopener\">First Second Books\u003c/a>, would say talent has a lot to do with his success, too. Siegel says he was hooked immediately by Yang’s first book, \u003cem>American Born Chinese\u003c/em>, when it was still an unfinished draft.\u003c/p>\n\u003cp>“This was tapping into a bigger conversation,” Siegel explains. “There’s the universal immigration story, but the Chinese version of that story has not been told in the way he tackles it. Then there’s also the story of internalized racism in the second and third generations. This is part of America’s big conversation with itself.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Siegel adds Yang’s body of work continued to unfold and mature with \u003cem>Boxers & Saints, \u003c/em>which tells the story of the Boxer Rebellion in China at the turn of the 20th century. The story is told from two different, competing perspectives. “It’s kind of rare to find someone who can really rivet you with a story and teach,” Siegel says. “He’s not clobbering you over the head with a message. He’s exploring something with you, and you feel that.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T9JLPevOw68\u003c/p>\n\u003cp>Yang is a professional educator. He spent 17 years teaching computer science at Bishop O’Dowd High School in Oakland. \u003ca href=\"http://geneyang.com/secret-coders-book-1\" target=\"_blank\" rel=\"noopener\">Secret Coders\u003c/a>, released in September, was inspired by that experience. “You ought to be able to do basic programming from reading the first volume,” he told the \u003ca href=\"http://www.nytimes.com/2016/01/04/books/library-of-congress-anoints-graphic-novelist-as-ambassador-for-young-peoples-literature.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”BMKhZV4TdRUuWMGdX1DGsvSV69xsXT6S”]\u003c/p>\n\u003cp>Yang is friends with author Marsha Qualey. “She says that at the heart of every young adult book is this equation: belonging+power=identity. I think that a lot of my stories are about those things, about somebody trying to find where they belong, somebody trying to find where their sense of power is, and out of that, trying to construct an identity for themselves.”\u003c/p>\n\u003cp>Once Yang’s publishing career took off in the last decade, the Bay Area native found himself increasingly pulled away from the classroom, until finally he decided to quit teaching at the end of the last school year. But his plans for the ambassador role indicate he’s not giving up his primary focus: kids.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/241000582″ 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>Yang says his passion right now is a program he calls Reading Without Walls, designed to excite young readers to stretch beyond their comfort zone.\u003c/p>\n\u003cp>“Pick up a book that features somebody on the cover that doesn’t look like you, or doesn’t live like you,” Yang says. “Using books to explore subjects that you may not necessarily be comfortable with, or that you may find intimidating.”\u003c/p>\n\u003cp>Then there’s \u003ca href=\"http://geneyang.com/superman\" target=\"_blank\" rel=\"noopener\">Superman\u003c/a>. DC Comics invited to write new adventures for Yang’s first super-hero love. It might seem a departure from his deeply person work, but Yang doesn’t think so.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Superman is also the prototypical immigrant,” Yang explains. “A lot of his life is about negotiating between these two different identities, these two different cultures. Superman really resonates with the Asian-American experience. You know, he has black hair. He wears glasses. His parents are these non-English speaking scientists who send him to America for a better life. I think all those things are connection points for me into that character.”\u003c/p>\n\u003cfigure id=\"attachment_11219900\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11219900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS17938_Yang01-630x420-qut.jpg\" alt=' Gene Luen Yang is writing Superman for DC Comics. \"You have to find the parts of him that overlap with parts of you.\"' width=\"630\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS17938_Yang01-630x420-qut.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS17938_Yang01-630x420-qut-400x267.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Gene Luen Yang is writing Superman for DC Comics. “You have to find the parts of him that overlap with parts of you.” \u003ccite>(Courtesy of Gene Luen Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, the Library of Congress inaugurates a new national ambassador for young people’s literature: San Jose graphic novelist Gene Luen Yang.\u003c/p>\n\u003cp>Yang may be the first graphic novelist to hold this particular post, but he’s well known in the world of comics. Two of his books, \u003cem>\u003ca href=\"http://geneyang.com/american-born-chinese\" target=\"_blank\" rel=\"noopener\">American Born Chinese\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"http://geneyang.com/boxers-saints\" target=\"_blank\" rel=\"noopener\">Boxers & Saints\u003c/a>\u003c/em>, were nominated for National Book Awards. \u003cem>American Born Chinese\u003c/em> is also the only graphic novel to win the American Library Association’s Printz Award.\u003c/p>\n\u003cp>“In a lot of ways, I just feel like I was in the right place at the right time,” Yang says. “Historically in America, comics and ‘traditional books’ have been these two separate worlds. They really have been merging over the last decade or two. I think I’ve been a huge beneficiary of that.\u003c/p>\n\u003cp>Mark Siegel, editorial director at Yang’s home imprint, \u003ca href=\"http://www.firstsecondbooks.com/\" target=\"_blank\" rel=\"noopener\">First Second Books\u003c/a>, would say talent has a lot to do with his success, too. Siegel says he was hooked immediately by Yang’s first book, \u003cem>American Born Chinese\u003c/em>, when it was still an unfinished draft.\u003c/p>\n\u003cp>“This was tapping into a bigger conversation,” Siegel explains. “There’s the universal immigration story, but the Chinese version of that story has not been told in the way he tackles it. Then there’s also the story of internalized racism in the second and third generations. This is part of America’s big conversation with itself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Siegel adds Yang’s body of work continued to unfold and mature with \u003cem>Boxers & Saints, \u003c/em>which tells the story of the Boxer Rebellion in China at the turn of the 20th century. The story is told from two different, competing perspectives. “It’s kind of rare to find someone who can really rivet you with a story and teach,” Siegel says. “He’s not clobbering you over the head with a message. He’s exploring something with you, and you feel that.”\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/T9JLPevOw68'\n title='//www.youtube.com/embed/T9JLPevOw68'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yang is a professional educator. He spent 17 years teaching computer science at Bishop O’Dowd High School in Oakland. \u003ca href=\"http://geneyang.com/secret-coders-book-1\" target=\"_blank\" rel=\"noopener\">Secret Coders\u003c/a>, released in September, was inspired by that experience. “You ought to be able to do basic programming from reading the first volume,” he told the \u003ca href=\"http://www.nytimes.com/2016/01/04/books/library-of-congress-anoints-graphic-novelist-as-ambassador-for-young-peoples-literature.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Yang is friends with author Marsha Qualey. “She says that at the heart of every young adult book is this equation: belonging+power=identity. I think that a lot of my stories are about those things, about somebody trying to find where they belong, somebody trying to find where their sense of power is, and out of that, trying to construct an identity for themselves.”\u003c/p>\n\u003cp>Once Yang’s publishing career took off in the last decade, the Bay Area native found himself increasingly pulled away from the classroom, until finally he decided to quit teaching at the end of the last school year. But his plans for the ambassador role indicate he’s not giving up his primary focus: kids.\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/241000582″&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/241000582″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Yang says his passion right now is a program he calls Reading Without Walls, designed to excite young readers to stretch beyond their comfort zone.\u003c/p>\n\u003cp>“Pick up a book that features somebody on the cover that doesn’t look like you, or doesn’t live like you,” Yang says. “Using books to explore subjects that you may not necessarily be comfortable with, or that you may find intimidating.”\u003c/p>\n\u003cp>Then there’s \u003ca href=\"http://geneyang.com/superman\" target=\"_blank\" rel=\"noopener\">Superman\u003c/a>. DC Comics invited to write new adventures for Yang’s first super-hero love. It might seem a departure from his deeply person work, but Yang doesn’t think so.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Superman is also the prototypical immigrant,” Yang explains. “A lot of his life is about negotiating between these two different identities, these two different cultures. Superman really resonates with the Asian-American experience. You know, he has black hair. He wears glasses. His parents are these non-English speaking scientists who send him to America for a better life. I think all those things are connection points for me into that character.”\u003c/p>\n\u003cfigure id=\"attachment_11219900\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11219900\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/RS17938_Yang01-630x420-qut.jpg\" alt=' Gene Luen Yang is writing Superman for DC Comics. \"You have to find the parts of him that overlap with parts of you.\"' width=\"630\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS17938_Yang01-630x420-qut.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/RS17938_Yang01-630x420-qut-400x267.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Gene Luen Yang is writing Superman for DC Comics. “You have to find the parts of him that overlap with parts of you.” \u003ccite>(Courtesy of Gene Luen Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The longtime tenants of 344-348 Precita Avenue in the Mission District have reached a tentative deal to purchase their building, thereby preventing their impending displacement.\u003c/p>\n\u003cp>The building houses \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener\">Precita Eyes Muralists\u003c/a>, a group that creates and maintains many of the famous murals scattered throughout the neighborhood. They have rented their space since 1977. It’s also home to five residents who also fear \u003ca href=\"http://ww2.kqed.org/arts/2015/08/25/fearing-loss-of-space-precita-eyes-tries-to-dissuade-prospective-buyers/\" target=\"_blank\" rel=\"noopener\">eviction\u003c/a> if their landlords sell the building to outsiders.\u003c/p>\n\u003cp>This week, the \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a> (MEDA) announced it had helped broker an agreement with the building’s owner, who has been trying to sell the property for upwards of $995,000. MEDA Director of Community Real Estate Karoleen Feng would not disclose the agreed-upon purchase price, but she said that, if all goes as planned, the tenants will eventually turn the building into a co-op.\u003c/p>\n\u003cp>“The sellers are accepting the deal on the condition that we will purchase it within a month. So we have a month to pull together all the financing,” Feng said. The immediate need is to raise $200,000 for a down payment by January 22. The deal will fall through if the funds fall short, she added.\u003c/p>\n\u003cp>The future of the agreement hinges largely on the goodwill of friends, neighbors and supporters. MEDA has launched a \u003ca href=\"https://www.crowdrise.com/helpusbuyandstayinou\" target=\"_blank\" rel=\"noopener\">crowdfunding \u003c/a>campaign and it is also soliciting donations through its webpage. It is also seeking larger investments ($10,000 or more for a 12-month loan), with the promise of a five-percent return.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once the deal is finalized, MEDA says it plans to refinance the building and pay back the loans using \u003ca href=\"https://ballotpedia.org/City_of_San_Francisco_Housing_Bond_Issue,_Proposition_A_(November_2015)\" target=\"_blank\" rel=\"noopener\">Proposition A \u003c/a>bond money, which is earmarked for affordable housing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know, a lot of folks are sort of wringing their hands — ‘How can we help my neighbor who I know is being threatened by the possible sale of their building?'” Feng said. “This is one way that you can actually help your neighbor.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The longtime tenants of 344-348 Precita Avenue in the Mission District have reached a tentative deal to purchase their building, thereby preventing their impending displacement.\u003c/p>\n\u003cp>The building houses \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener\">Precita Eyes Muralists\u003c/a>, a group that creates and maintains many of the famous murals scattered throughout the neighborhood. They have rented their space since 1977. It’s also home to five residents who also fear \u003ca href=\"http://ww2.kqed.org/arts/2015/08/25/fearing-loss-of-space-precita-eyes-tries-to-dissuade-prospective-buyers/\" target=\"_blank\" rel=\"noopener\">eviction\u003c/a> if their landlords sell the building to outsiders.\u003c/p>\n\u003cp>This week, the \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a> (MEDA) announced it had helped broker an agreement with the building’s owner, who has been trying to sell the property for upwards of $995,000. MEDA Director of Community Real Estate Karoleen Feng would not disclose the agreed-upon purchase price, but she said that, if all goes as planned, the tenants will eventually turn the building into a co-op.\u003c/p>\n\u003cp>“The sellers are accepting the deal on the condition that we will purchase it within a month. So we have a month to pull together all the financing,” Feng said. The immediate need is to raise $200,000 for a down payment by January 22. The deal will fall through if the funds fall short, she added.\u003c/p>\n\u003cp>The future of the agreement hinges largely on the goodwill of friends, neighbors and supporters. MEDA has launched a \u003ca href=\"https://www.crowdrise.com/helpusbuyandstayinou\" target=\"_blank\" rel=\"noopener\">crowdfunding \u003c/a>campaign and it is also soliciting donations through its webpage. It is also seeking larger investments ($10,000 or more for a 12-month loan), with the promise of a five-percent return.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once the deal is finalized, MEDA says it plans to refinance the building and pay back the loans using \u003ca href=\"https://ballotpedia.org/City_of_San_Francisco_Housing_Bond_Issue,_Proposition_A_(November_2015)\" target=\"_blank\" rel=\"noopener\">Proposition A \u003c/a>bond money, which is earmarked for affordable housing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know, a lot of folks are sort of wringing their hands — ‘How can we help my neighbor who I know is being threatened by the possible sale of their building?'” Feng said. “This is one way that you can actually help your neighbor.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Natalie Cole, the Grammy award-winning singer and daughter of legendary crooner Nat King Cole, has died. She was 65.\u003c/p>\n\u003cp>According to a statement from her family, Cole passed away last night at a Los Angeles Hospital due to complications from ongoing medical issues, \u003ca href=\"http://bigstory.ap.org/article/6a4c103be2a74a2587334ec6eff65c13/natalie-cole-grammy-winning-singer-has-died\">The Associated Press reported\u003c/a>.\u003c/p>\n\u003cp>Cole’s longtime collaborator Tony Bennett confirmed the news to NPR Weekend Edition Saturday host Scott Simon after speaking with Cole’s family:\u003c/p>\n\u003cblockquote>\n\u003cp>”I am deeply saddened to hear of the passing of Natalie Cole as I have cherished the long friendship I had with her, her father Nat and the family over the years. Natalie was an exceptional jazz singer and it was an honor to have recorded and performed with her on several occasions. She was a lovely and generous person who will be greatly missed.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Cole recorded her first album in 1975 and quickly found success. That album included one of her biggest hits, “This Will Be,” which earned her her first Grammy award.\u003c/p>\n\u003cp>Cole struggled with substance abuse and a series of health problems, but re-emerged to deliver the 1991 album \u003cem>Unforgettable … with Love.\u003c/em> The hit song “Unforgettable” blended together recordings of her father and her own tracks, making it sound like the two were singing a duet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a 2013 \u003ca href=\"http://www.npr.org/2013/06/22/193947379/natalie-cole-takes-her-own-turn-en-espa-ol\">interview with Scott Simon\u003c/a> on \u003cem>Weekend Edition,\u003c/em> she spoke about the experience of starting out in the music industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“When I first started to sing, the last thing I wanted to do was sing my dad’s music. … It took 15 years into my career before I felt comfortable and confident enough to even attempt it, singing my father’s music.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>You can listen to the rest of that interview here, where she discusses releasing an album in Spanish. \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=Singer+Natalie+Cole+Dead+At+65&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Natalie Cole, the Grammy award-winning singer and daughter of legendary crooner Nat King Cole, has died. She was 65.\u003c/p>\n\u003cp>According to a statement from her family, Cole passed away last night at a Los Angeles Hospital due to complications from ongoing medical issues, \u003ca href=\"http://bigstory.ap.org/article/6a4c103be2a74a2587334ec6eff65c13/natalie-cole-grammy-winning-singer-has-died\">The Associated Press reported\u003c/a>.\u003c/p>\n\u003cp>Cole’s longtime collaborator Tony Bennett confirmed the news to NPR Weekend Edition Saturday host Scott Simon after speaking with Cole’s family:\u003c/p>\n\u003cblockquote>\n\u003cp>”I am deeply saddened to hear of the passing of Natalie Cole as I have cherished the long friendship I had with her, her father Nat and the family over the years. Natalie was an exceptional jazz singer and it was an honor to have recorded and performed with her on several occasions. She was a lovely and generous person who will be greatly missed.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Cole recorded her first album in 1975 and quickly found success. That album included one of her biggest hits, “This Will Be,” which earned her her first Grammy award.\u003c/p>\n\u003cp>Cole struggled with substance abuse and a series of health problems, but re-emerged to deliver the 1991 album \u003cem>Unforgettable … with Love.\u003c/em> The hit song “Unforgettable” blended together recordings of her father and her own tracks, making it sound like the two were singing a duet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a 2013 \u003ca href=\"http://www.npr.org/2013/06/22/193947379/natalie-cole-takes-her-own-turn-en-espa-ol\">interview with Scott Simon\u003c/a> on \u003cem>Weekend Edition,\u003c/em> she spoke about the experience of starting out in the music industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“When I first started to sing, the last thing I wanted to do was sing my dad’s music. … It took 15 years into my career before I felt comfortable and confident enough to even attempt it, singing my father’s music.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>You can listen to the rest of that interview here, where she discusses releasing an album in Spanish. \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=Singer+Natalie+Cole+Dead+At+65&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/12/TDL010116.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=cm7YF3gxZy4\u003c/p>\n\u003cp>\u003cstrong>Jan. 5 & 6: \u003c/strong>\u003ca href=\"http://www.thestylistics.org/1.html\" target=\"_blank\" rel=\"noopener\">The Stylistics \u003c/a>personified the ultra-smooth sound of Philly soul in the early 1970s, with tight harmonies floating over big, big string sections. The lyrics weren’t deep: “Betcha by Golly, Wow,” and “I’m Stone in Love with You” are good examples of their lyrical laziness, but the band scored 12 consecutive R&B top ten hits with that formula. And they continue to sing about breaking up to make up as Airrion Love and Herb Murrell, two members of the original band, still tour with the group. Details for their show at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s \u003c/a>in Oakland \u003ca href=\"http://www.yoshis.com/event/952245-stylistics-oakland/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11206944\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11206944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1180x775.jpg\" alt=\"Red Horse (Minneconjou Lakota Sioux, 1822-1907), Untitled from the Red Horse Pictographic Account of the Battle of the Little Bighorn, 1881. Graphite, colored pencil, and ink. NAA MS 2367A, 08569200\" width=\"640\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1920x1261.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-960x630.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Red Horse (Minneconjou Lakota Sioux, 1822-1907), Untitled from the Red Horse Pictographic Account of the Battle of the Little Bighorn, 1881. Graphite, colored pencil, and ink. NAA MS 2367A, 08569200 \u003ccite>(Credit: National Anthropological Archives, Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16 – May 9:\u003c/strong> \u003cem>\u003ca href=\"http://museum.stanford.edu/news_room/red-horse.htm\" target=\"_blank\" rel=\"noopener\">Red Horse: Drawings of the Battle of the Little Bighorn\u003c/a>\u003c/em>. Red Horse was a Minneconjou Lakota Sioux warrior who fought alongside Crazy Horse and Sitting Bull at the Battle of the Little Big Horn, where a force of Sioux, Cheyenne, and Arapahoe Indians wiped out five companies of the US 7th Cavalry under the command of General George Armstrong Custer. Red Horse made these 12 drawings of the battle as a commission for Army doctor Charles E. McChesney at the Cheyenne River Agency in 1881. Their \u003ca href=\"http://museum.stanford.edu/news_room/red-horse.htm\" target=\"_blank\" rel=\"noopener\">exhibition at Stanford’s Cantor Art Center\u003c/a> is the first time they’ve been displayed together since the battle’s 100th anniversary in 1976. \u003cstrong>And that’s our CHEAP THRILL this week\u003c/strong> as admission to the Cantor is free.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zX1MwaHP-CQ\u003c/p>\n\u003cp>\u003cstrong>Jan 7 – 10: \u003c/strong>Eric Harland is a musical adventurer, exploring different modes diverse bands, including \u003ca href=\"http://www.jamesfarmmusic.com/\" target=\"_blank\" rel=\"noopener\">James Farm\u003c/a> and the \u003ca href=\"https://www.facebook.com/CharlesLloydSax/\" target=\"_blank\" rel=\"noopener\">Charles Lloyd\u003c/a>\u003ca href=\"https://www.facebook.com/CharlesLloydSax/\" target=\"_blank\" rel=\"noopener\"> Quartet\u003c/a>. Now he’s exploring four exciting aspects of modern jazz with new guests over four nights. First he delves into South Carolina gospel and funk with \u003ca href=\"http://www.leefieldsandtheexpressions.com/\" target=\"_blank\" rel=\"noopener\">Lee Fields\u003c/a>, then afrobeat with \u003ca href=\"http://www.antibalas.com/\" target=\"_blank\" rel=\"noopener\">Antibalas\u003c/a>, the music of Gil Scott Heron with \u003ca href=\"http://brianjackson.net/\" target=\"_blank\" rel=\"noopener\">Brian Jackson\u003c/a>, and then he ends the run accompanying a spoken word performance by Oakland’s own\u003ca href=\"http://ishmaelreed.org/\" target=\"_blank\" rel=\"noopener\"> Ishmael Reed\u003c/a>. Details\u003ca href=\"https://www.sfjazz.org/events/2015-16/0107/eric-harland\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4gK1yo1-Aug\u003c/p>\n\u003cp>\u003cstrong>Jan 7 – 24: \u003c/strong>\u003ca href=\"http://www.sfsketchfest.com\" target=\"_blank\" rel=\"noopener\">SF Sketchfest \u003c/a> is back for its fifteenth year, gathering some of the funniest comic actors, writers, and podcast makers in San Francisco and environs for more than three weeks. David and I are excited about \u003ca href=\"http://www.cc.com/shows/drunk-history\" target=\"_blank\" rel=\"noopener\">\u003cem>Drunk History\u003c/em>\u003c/a> (just like it sounds), tributes to Sally Field, Patton Oswalt, and Jeff Goldblum, plus a panel featuring NPR’s \u003cem>Ask Me Another\u003c/em>, and a performance by Princess, Maya Rudolph and Gretchen Lieberum’s Prince cover band. And don’t miss writer/producer Alan Spencer and actor David Rasche, celebrating the 30th anniversary of ABC’s short-lived \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0090525/\" target=\"_blank\" rel=\"noopener\">Sledge Hammer\u003c/a>\u003c/em>, which spoofed Clint Eastwood’s Dirty Harry character with a maniacal cop who talks to his gun.\u003c/p>\n\u003cfigure id=\"attachment_11203914\" class=\"wp-caption aligncenter\" style=\"max-width: 350px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11203914\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/John-Douglas-Thompson.jpg\" alt=\"John Douglas Thompson\" width=\"350\" height=\"263\">\u003cfigcaption class=\"wp-caption-text\">John Douglas Thompson\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13-Feb. 7 \u003c/strong>: \u003cem>Satchmo at the Waldorf \u003c/em>: Louis Armstrong may be best remembered now for his pop hits and movie appearances (Hello Dolly and High Society), but he was pioneer in jazz, developing the idea of the individual solo. \u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html?gclid=CPTg2dj5gcoCFcVffgodMakEGw&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">\u003cem>Satchmo at the Waldorf \u003c/em>\u003c/a>at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> is by Terry Teachout, the Wall Street Journal’s drama critic, who also wrote a \u003ca href=\"http://www.amazon.com/Pops-A-Life-Louis-Armstrong/dp/0547386370\" target=\"_blank\" rel=\"noopener\">biography \u003c/a>of Armstrong. Obie winner \u003ca href=\"http://www.nytimes.com/video/theater/100000002798506/in-performance-john-douglas-thompson.html\" target=\"_blank\" rel=\"noopener\">John Douglas Thompson \u003c/a>stars, and we learn a lot about race, Armstrong’s mob-connected agent Joe Glaser, and Satchmo’s relation with his polar opposite, Miles Davis, his successor as the world’s greatest jazz trumpeter. Should be an entertaining slice of American history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0of1Z-Db7iw\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 5\u003c/strong>: \u003ca href=\"http://thenationalparksmusic.com/\" target=\"_blank\" rel=\"noopener\">The National Parks \u003c/a>are still so fresh they don’t have a Wikipedia page yet. But this 7-member, Provo, Utah-based band sounds great on songs ranging from folk to indie-rock on their two CD’s. Vocalists Sydney McFarlane and Brady Park sing beautifully together, and they write smart lyrics like this one: “Do you ever think about the stars? / To see them clear, you have to step into the dark.” Catch them before they hit big at the \u003ca href=\"http://www.hotelutah.com/event/988215-national-parks-brumby-wild-san-francisco/\" target=\"_blank\" rel=\"noopener\">Hotel Utah.\u003c/a>\u003c/p>\n\n",
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"excerpt": "Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
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"title": "Cy and David’s Picks: Red Horse at the Little Big Horn and a Jazz Voyager | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cm7YF3gxZy4'\n title='//www.youtube.com/embed/cm7YF3gxZy4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 5 & 6: \u003c/strong>\u003ca href=\"http://www.thestylistics.org/1.html\" target=\"_blank\" rel=\"noopener\">The Stylistics \u003c/a>personified the ultra-smooth sound of Philly soul in the early 1970s, with tight harmonies floating over big, big string sections. The lyrics weren’t deep: “Betcha by Golly, Wow,” and “I’m Stone in Love with You” are good examples of their lyrical laziness, but the band scored 12 consecutive R&B top ten hits with that formula. And they continue to sing about breaking up to make up as Airrion Love and Herb Murrell, two members of the original band, still tour with the group. Details for their show at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s \u003c/a>in Oakland \u003ca href=\"http://www.yoshis.com/event/952245-stylistics-oakland/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11206944\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11206944\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1180x775.jpg\" alt=\"Red Horse (Minneconjou Lakota Sioux, 1822-1907), Untitled from the Red Horse Pictographic Account of the Battle of the Little Bighorn, 1881. Graphite, colored pencil, and ink. NAA MS 2367A, 08569200\" width=\"640\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-1920x1261.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Red-Horse-Battle-2-960x630.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Red Horse (Minneconjou Lakota Sioux, 1822-1907), Untitled from the Red Horse Pictographic Account of the Battle of the Little Bighorn, 1881. Graphite, colored pencil, and ink. NAA MS 2367A, 08569200 \u003ccite>(Credit: National Anthropological Archives, Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16 – May 9:\u003c/strong> \u003cem>\u003ca href=\"http://museum.stanford.edu/news_room/red-horse.htm\" target=\"_blank\" rel=\"noopener\">Red Horse: Drawings of the Battle of the Little Bighorn\u003c/a>\u003c/em>. Red Horse was a Minneconjou Lakota Sioux warrior who fought alongside Crazy Horse and Sitting Bull at the Battle of the Little Big Horn, where a force of Sioux, Cheyenne, and Arapahoe Indians wiped out five companies of the US 7th Cavalry under the command of General George Armstrong Custer. Red Horse made these 12 drawings of the battle as a commission for Army doctor Charles E. McChesney at the Cheyenne River Agency in 1881. Their \u003ca href=\"http://museum.stanford.edu/news_room/red-horse.htm\" target=\"_blank\" rel=\"noopener\">exhibition at Stanford’s Cantor Art Center\u003c/a> is the first time they’ve been displayed together since the battle’s 100th anniversary in 1976. \u003cstrong>And that’s our CHEAP THRILL this week\u003c/strong> as admission to the Cantor is free.\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/zX1MwaHP-CQ'\n title='//www.youtube.com/embed/zX1MwaHP-CQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 7 – 10: \u003c/strong>Eric Harland is a musical adventurer, exploring different modes diverse bands, including \u003ca href=\"http://www.jamesfarmmusic.com/\" target=\"_blank\" rel=\"noopener\">James Farm\u003c/a> and the \u003ca href=\"https://www.facebook.com/CharlesLloydSax/\" target=\"_blank\" rel=\"noopener\">Charles Lloyd\u003c/a>\u003ca href=\"https://www.facebook.com/CharlesLloydSax/\" target=\"_blank\" rel=\"noopener\"> Quartet\u003c/a>. Now he’s exploring four exciting aspects of modern jazz with new guests over four nights. First he delves into South Carolina gospel and funk with \u003ca href=\"http://www.leefieldsandtheexpressions.com/\" target=\"_blank\" rel=\"noopener\">Lee Fields\u003c/a>, then afrobeat with \u003ca href=\"http://www.antibalas.com/\" target=\"_blank\" rel=\"noopener\">Antibalas\u003c/a>, the music of Gil Scott Heron with \u003ca href=\"http://brianjackson.net/\" target=\"_blank\" rel=\"noopener\">Brian Jackson\u003c/a>, and then he ends the run accompanying a spoken word performance by Oakland’s own\u003ca href=\"http://ishmaelreed.org/\" target=\"_blank\" rel=\"noopener\"> Ishmael Reed\u003c/a>. Details\u003ca href=\"https://www.sfjazz.org/events/2015-16/0107/eric-harland\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4gK1yo1-Aug'\n title='//www.youtube.com/embed/4gK1yo1-Aug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 7 – 24: \u003c/strong>\u003ca href=\"http://www.sfsketchfest.com\" target=\"_blank\" rel=\"noopener\">SF Sketchfest \u003c/a> is back for its fifteenth year, gathering some of the funniest comic actors, writers, and podcast makers in San Francisco and environs for more than three weeks. David and I are excited about \u003ca href=\"http://www.cc.com/shows/drunk-history\" target=\"_blank\" rel=\"noopener\">\u003cem>Drunk History\u003c/em>\u003c/a> (just like it sounds), tributes to Sally Field, Patton Oswalt, and Jeff Goldblum, plus a panel featuring NPR’s \u003cem>Ask Me Another\u003c/em>, and a performance by Princess, Maya Rudolph and Gretchen Lieberum’s Prince cover band. And don’t miss writer/producer Alan Spencer and actor David Rasche, celebrating the 30th anniversary of ABC’s short-lived \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0090525/\" target=\"_blank\" rel=\"noopener\">Sledge Hammer\u003c/a>\u003c/em>, which spoofed Clint Eastwood’s Dirty Harry character with a maniacal cop who talks to his gun.\u003c/p>\n\u003cfigure id=\"attachment_11203914\" class=\"wp-caption aligncenter\" style=\"max-width: 350px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11203914\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/John-Douglas-Thompson.jpg\" alt=\"John Douglas Thompson\" width=\"350\" height=\"263\">\u003cfigcaption class=\"wp-caption-text\">John Douglas Thompson\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13-Feb. 7 \u003c/strong>: \u003cem>Satchmo at the Waldorf \u003c/em>: Louis Armstrong may be best remembered now for his pop hits and movie appearances (Hello Dolly and High Society), but he was pioneer in jazz, developing the idea of the individual solo. \u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html?gclid=CPTg2dj5gcoCFcVffgodMakEGw&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">\u003cem>Satchmo at the Waldorf \u003c/em>\u003c/a>at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> is by Terry Teachout, the Wall Street Journal’s drama critic, who also wrote a \u003ca href=\"http://www.amazon.com/Pops-A-Life-Louis-Armstrong/dp/0547386370\" target=\"_blank\" rel=\"noopener\">biography \u003c/a>of Armstrong. Obie winner \u003ca href=\"http://www.nytimes.com/video/theater/100000002798506/in-performance-john-douglas-thompson.html\" target=\"_blank\" rel=\"noopener\">John Douglas Thompson \u003c/a>stars, and we learn a lot about race, Armstrong’s mob-connected agent Joe Glaser, and Satchmo’s relation with his polar opposite, Miles Davis, his successor as the world’s greatest jazz trumpeter. Should be an entertaining slice of American history.\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/0of1Z-Db7iw'\n title='//www.youtube.com/embed/0of1Z-Db7iw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 5\u003c/strong>: \u003ca href=\"http://thenationalparksmusic.com/\" target=\"_blank\" rel=\"noopener\">The National Parks \u003c/a>are still so fresh they don’t have a Wikipedia page yet. But this 7-member, Provo, Utah-based band sounds great on songs ranging from folk to indie-rock on their two CD’s. Vocalists Sydney McFarlane and Brady Park sing beautifully together, and they write smart lyrics like this one: “Do you ever think about the stars? / To see them clear, you have to step into the dark.” Catch them before they hit big at the \u003ca href=\"http://www.hotelutah.com/event/988215-national-parks-brumby-wild-san-francisco/\" target=\"_blank\" rel=\"noopener\">Hotel Utah.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Your New Year's Eve Bay Area Transportation Guide",
"title": "Your New Year's Eve Bay Area Transportation Guide",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>If your New Year's resolution is to drive less, or if you're still looking for a designated driver to help you celebrate New Year's Eve, transportation services around the Bay Area are hoping to help you out.\u003c/p>\n\u003cp>Muni, Caltrain and AC Transit are just a few transportation options offering free rides and extended operations on New Year's Eve to carry celebrants into the wee hours of the new year.\u003c/p>\n\u003cp>Here's a breakdown of Bay Area transportation options to take you around \u003ca href=\"#sf\">San Francisco\u003c/a>, \u003ca href=\"#sm\">San Mateo\u003c/a>, \u003ca href=\"#sc\">Santa Clara\u003c/a> and the \u003ca href=\"#eb\">East Bay\u003c/a> this New Year's Eve.\u003c/p>\n\u003cp>\u003cstrong>BART:\u003c/strong> While BART is not offering free rides, extended service will be offered until approximately 3 a.m. Friday. Extra trains will be prepared for crowds after the fireworks show at the Embarcadero and will run every 20 minutes.\u003c/p>\n\u003cp>\"One of the most exciting things that San Franciscans and Bay Area residents get to do every year is go down and enjoy the fireworks at Embarcadero, so we want to be able to provide that service,\" said BART spokesman Taylor Huckaby.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those heading into the city after 8 p.m and those leaving the city after midnight, BART will begin utilizing \"skip-stop\" service in and out of the city. \u003ca href=\"http://www.bart.gov/news/articles/2015/news20151208-0\" target=\"_blank\">Some lines will skip\u003c/a> Embarcadero, Montgomery and West Oakland stations to ease the crowds at the most popular platforms.\u003c/p>\n\u003cp>BART will operate on a Sunday/holiday schedule on New Year's Day, with service beginning at 8 a.m.\u003c/p>\n\u003cp>\u003ca href=\"http://sf.funcheap.com/1231-free-cheap-nye-public-transportation-bartmunisamtranscaltrainvta/\">FuncheapSF\u003c/a> recommends buying round-trip tickets and loading Clipper cards in advance to avoid long lines.\u003c/p>\n\u003cp>\u003cstrong>Caltrain:\u003c/strong> Caltrain will begin offering free rides at 8 p.m. Thursday until 5 a.m. Friday. An extra four trains will leave from the \u003ca href=\"http://www.caltrain.com/stations/sanfranciscostation.html\" target=\"_blank\">San Francisco station\u003c/a> after the midnight fireworks show at the Embarcadero. Trains will operate on a \u003ca href=\"http://www.caltrain.com/schedules/weekend-timetable.html\" target=\"_blank\">Sunday/holiday schedule\u003c/a> on New Year's Day.\u003c/p>\n\u003cp>\u003cstrong>Lyft and Uber: \u003c/strong>Lyft prices are capped at 200 percent this New Year's Eve, one of its \u003ca href=\"http://www.sfgate.com/bayarea/article/Uber-Lyft-vs-taxis-in-New-Year-s-Eve-fare-war-5984146.php\" target=\"_blank\">most competitive\u003c/a> business days of the year.\u003c/p>\n\u003cp>Uber is also taking part in \u003ca href=\"https://help.uber.com/h/6c8065cf-5535-4a8b-9940-d292ffdce119\" target=\"_blank\">surge pricing\u003c/a>. Uber \u003ca href=\"https://newsroom.uber.com/new-years-guide/\" target=\"_blank\">suggests \u003c/a>using the service early or catching a ride after midnight to avoid high fares.\u003c/p>\n\u003cp>On New Year's Eve last year, some Uber rides cost as much as $100. Lyft set a \"prime-time limit\" at a \u003ca href=\"http://www.ibtimes.com/uber-lyft-new-years-eve-2015-surge-pricing-cost-riders-1771582\" target=\"_blank\">controversial\u003c/a> 400 percent. You can decide if 200 percent is a steal.\u003ca name=\"sf\">\u003c/a>\u003c/p>\n\u003ch3>San Francisco\u003c/h3>\n\u003cp>\u003cstrong>Muni:\u003c/strong> You can hop on any Muni bus for free starting at 8 p.m. on Thursday through 5 a.m. on Friday.\u003c/p>\n\u003cp>There will also be extended service until 4 a.m. on Muni Metro lines between West Portal and Embarcadero stations. Service will run until 2:15 a.m. to Fourth and King streets.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfmta.com/calendar/alerts/ride-muni-free-extra-service-new-years-eve\" target=\"_blank\">Extra Owl route \u003c/a>service will be offered from 1 a.m. to 5 a.m. on New Year's Day.\u003c/p>\n\u003cp>Clipper cards, Muni Mobile passes and Metro fares will not be necessary on Muni buses during free service hours. SFMTA asks that passengers do not tag their Clipper cards during free service hours. If tagged, cards will be charged. Muni Metro fare gates will be set to allow free access.\u003c/p>\n\u003cp>\u003cstrong>Cab:\u003c/strong> Luxor Cabs in partnership with Berg Injury Lawyers' \u003ca href=\"http://www.berginjurylawyers.com/about-us/community/safe-and-sober/\" target=\"_blank\">Safe and Sober Free Cab Ride Home Program\u003c/a> is offering free cab rides home from 10 p.m. on Thursday through 4 a.m. Friday.\u003c/p>\n\u003cp>Riders must be picked up at a restaurant, hotel or bar and dropped off to a residency to qualify for a free ride. Free rides do not count if the cab is hailed from the street. Each ride is limited to $35.\u003c/p>\n\u003cp>For a free cab, you can arrange a ride with Luxor Cab by calling \u003cspan style=\"line-height: 1.5\">(415) 282-4141. Patrons can tell the driver to send the taxi receipt to \u003ca href=\"http://www.berginjurylawyers.com/wp-content/uploads/2015/12/BIL_PressRelease_NYE-2015.pdf\" target=\"_blank\">Berg Injury Lawyers. \u003c/a>Berg Injury encourages riders to tip their taxi drivers.\u003cbr>\n\u003ca name=\"eb\">\u003c/a> \u003c/span>\u003c/p>\n\u003ch3>Alameda-Contra Consta County\u003c/h3>\n\u003cp>\u003cstrong>AC Transit: \u003c/strong>Free rides will be offered on all AC Transit lines from 8 p.m. Thursday until 5 a.m. Friday.\u003c/p>\n\u003cp>\"We want people to be safe and we care about our community,\" said Michele Joseph, director of marketing and communications at AC Transit. \"We care about our customers. And it's really important for everybody to realize the implication of driving while intoxicated.\"\u003c/p>\n\u003cp>\u003ca href=\"http://www.actransit.org/2015/12/23/ac-transit-offers-free-rides-on-new-year%E2%80%99s-eve/\" target=\"_blank\">All Nighter service\u003c/a> will be available to those traveling after midnight.\u003c/p>\n\u003cfigure id=\"attachment_10812200\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10812200 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/existing-map-400x176.png\" alt=\"Oakland’s Free B Shuttle bus will be running on New Year’s Eve every 10-15 minutes from 7 p.m. to 1 a.m.\" width=\"400\" height=\"176\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map-400x176.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map-800x352.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map-768x338.png 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map.png 856w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s Free B Shuttle bus will be running on New Year’s Eve every 10-15 minutes from 7 p.m. to 1 a.m. \u003ccite>(City of Oakland's Economic & Workforce Development Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Broadway Shuttle:\u003c/strong> The green\u003ca href=\"http://www.meetdowntownoak.com/shuttle.php\"> bus\u003c/a> taking passengers along Broadway from Jack London Square to 27th Street in Oakland will offer free rides from 7 a.m. on Thursday to 1 a.m. Friday every 10 to 15 minutes.\u003cbr>\n\u003ca name=\"sm\">\u003c/a>\u003c/p>\n\u003ch3>San Mateo County\u003c/h3>\n\u003cp>\u003cstrong>SamTrans:\u003c/strong> Free rides on\u003ca href=\"http://www.samtrans.com/about/MediaRelations/news/SamTrans_to_Offer_Free_Service_on_New_Year_s_Eve__Sunday_Schedule_on_New_Year_s_Day_4274.html\"> SamTrans\u003c/a> buses begin at 8 p.m. Thursday until 5 a.m. Friday. Buses will operate on a Sunday schedule on New Year's Day.\u003c/p>\n\u003cp>\u003cstrong>Redi-Wheels:\u003c/strong> The district's paratransit service will offer free rides starting at 8 p.m. Thursday.\u003cbr>\n\u003ca name=\"sc\">\u003c/a>\u003c/p>\n\u003ch3>Santa Clara County\u003c/h3>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>VTA:\u003c/strong> Santa Clara County's Valley Transportation Authority is offering free rides from 8 p.m. Thursday until 5 a.m. Friday. \u003ca href=\"http://www.vta.org/News-and-Media/Connect-with-VTA/Ride-VTA-on-Us-This-New-Years-Eve#.VoGGrPmANHx\">Extended service\u003c/a> will be offered for the Mountain View-Winchester and Alum Rock-Santa Teresa light-rail lines.\u003c/p>\n\n",
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"excerpt": "Muni, Caltrain and AC Transit are just a few transportation options offering free rides and extended operations to carry celebrants into the new year.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If your New Year's resolution is to drive less, or if you're still looking for a designated driver to help you celebrate New Year's Eve, transportation services around the Bay Area are hoping to help you out.\u003c/p>\n\u003cp>Muni, Caltrain and AC Transit are just a few transportation options offering free rides and extended operations on New Year's Eve to carry celebrants into the wee hours of the new year.\u003c/p>\n\u003cp>Here's a breakdown of Bay Area transportation options to take you around \u003ca href=\"#sf\">San Francisco\u003c/a>, \u003ca href=\"#sm\">San Mateo\u003c/a>, \u003ca href=\"#sc\">Santa Clara\u003c/a> and the \u003ca href=\"#eb\">East Bay\u003c/a> this New Year's Eve.\u003c/p>\n\u003cp>\u003cstrong>BART:\u003c/strong> While BART is not offering free rides, extended service will be offered until approximately 3 a.m. Friday. Extra trains will be prepared for crowds after the fireworks show at the Embarcadero and will run every 20 minutes.\u003c/p>\n\u003cp>\"One of the most exciting things that San Franciscans and Bay Area residents get to do every year is go down and enjoy the fireworks at Embarcadero, so we want to be able to provide that service,\" said BART spokesman Taylor Huckaby.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those heading into the city after 8 p.m and those leaving the city after midnight, BART will begin utilizing \"skip-stop\" service in and out of the city. \u003ca href=\"http://www.bart.gov/news/articles/2015/news20151208-0\" target=\"_blank\">Some lines will skip\u003c/a> Embarcadero, Montgomery and West Oakland stations to ease the crowds at the most popular platforms.\u003c/p>\n\u003cp>BART will operate on a Sunday/holiday schedule on New Year's Day, with service beginning at 8 a.m.\u003c/p>\n\u003cp>\u003ca href=\"http://sf.funcheap.com/1231-free-cheap-nye-public-transportation-bartmunisamtranscaltrainvta/\">FuncheapSF\u003c/a> recommends buying round-trip tickets and loading Clipper cards in advance to avoid long lines.\u003c/p>\n\u003cp>\u003cstrong>Caltrain:\u003c/strong> Caltrain will begin offering free rides at 8 p.m. Thursday until 5 a.m. Friday. An extra four trains will leave from the \u003ca href=\"http://www.caltrain.com/stations/sanfranciscostation.html\" target=\"_blank\">San Francisco station\u003c/a> after the midnight fireworks show at the Embarcadero. Trains will operate on a \u003ca href=\"http://www.caltrain.com/schedules/weekend-timetable.html\" target=\"_blank\">Sunday/holiday schedule\u003c/a> on New Year's Day.\u003c/p>\n\u003cp>\u003cstrong>Lyft and Uber: \u003c/strong>Lyft prices are capped at 200 percent this New Year's Eve, one of its \u003ca href=\"http://www.sfgate.com/bayarea/article/Uber-Lyft-vs-taxis-in-New-Year-s-Eve-fare-war-5984146.php\" target=\"_blank\">most competitive\u003c/a> business days of the year.\u003c/p>\n\u003cp>Uber is also taking part in \u003ca href=\"https://help.uber.com/h/6c8065cf-5535-4a8b-9940-d292ffdce119\" target=\"_blank\">surge pricing\u003c/a>. Uber \u003ca href=\"https://newsroom.uber.com/new-years-guide/\" target=\"_blank\">suggests \u003c/a>using the service early or catching a ride after midnight to avoid high fares.\u003c/p>\n\u003cp>On New Year's Eve last year, some Uber rides cost as much as $100. Lyft set a \"prime-time limit\" at a \u003ca href=\"http://www.ibtimes.com/uber-lyft-new-years-eve-2015-surge-pricing-cost-riders-1771582\" target=\"_blank\">controversial\u003c/a> 400 percent. You can decide if 200 percent is a steal.\u003ca name=\"sf\">\u003c/a>\u003c/p>\n\u003ch3>San Francisco\u003c/h3>\n\u003cp>\u003cstrong>Muni:\u003c/strong> You can hop on any Muni bus for free starting at 8 p.m. on Thursday through 5 a.m. on Friday.\u003c/p>\n\u003cp>There will also be extended service until 4 a.m. on Muni Metro lines between West Portal and Embarcadero stations. Service will run until 2:15 a.m. to Fourth and King streets.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfmta.com/calendar/alerts/ride-muni-free-extra-service-new-years-eve\" target=\"_blank\">Extra Owl route \u003c/a>service will be offered from 1 a.m. to 5 a.m. on New Year's Day.\u003c/p>\n\u003cp>Clipper cards, Muni Mobile passes and Metro fares will not be necessary on Muni buses during free service hours. SFMTA asks that passengers do not tag their Clipper cards during free service hours. If tagged, cards will be charged. Muni Metro fare gates will be set to allow free access.\u003c/p>\n\u003cp>\u003cstrong>Cab:\u003c/strong> Luxor Cabs in partnership with Berg Injury Lawyers' \u003ca href=\"http://www.berginjurylawyers.com/about-us/community/safe-and-sober/\" target=\"_blank\">Safe and Sober Free Cab Ride Home Program\u003c/a> is offering free cab rides home from 10 p.m. on Thursday through 4 a.m. Friday.\u003c/p>\n\u003cp>Riders must be picked up at a restaurant, hotel or bar and dropped off to a residency to qualify for a free ride. Free rides do not count if the cab is hailed from the street. Each ride is limited to $35.\u003c/p>\n\u003cp>For a free cab, you can arrange a ride with Luxor Cab by calling \u003cspan style=\"line-height: 1.5\">(415) 282-4141. Patrons can tell the driver to send the taxi receipt to \u003ca href=\"http://www.berginjurylawyers.com/wp-content/uploads/2015/12/BIL_PressRelease_NYE-2015.pdf\" target=\"_blank\">Berg Injury Lawyers. \u003c/a>Berg Injury encourages riders to tip their taxi drivers.\u003cbr>\n\u003ca name=\"eb\">\u003c/a> \u003c/span>\u003c/p>\n\u003ch3>Alameda-Contra Consta County\u003c/h3>\n\u003cp>\u003cstrong>AC Transit: \u003c/strong>Free rides will be offered on all AC Transit lines from 8 p.m. Thursday until 5 a.m. Friday.\u003c/p>\n\u003cp>\"We want people to be safe and we care about our community,\" said Michele Joseph, director of marketing and communications at AC Transit. \"We care about our customers. And it's really important for everybody to realize the implication of driving while intoxicated.\"\u003c/p>\n\u003cp>\u003ca href=\"http://www.actransit.org/2015/12/23/ac-transit-offers-free-rides-on-new-year%E2%80%99s-eve/\" target=\"_blank\">All Nighter service\u003c/a> will be available to those traveling after midnight.\u003c/p>\n\u003cfigure id=\"attachment_10812200\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10812200 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/existing-map-400x176.png\" alt=\"Oakland’s Free B Shuttle bus will be running on New Year’s Eve every 10-15 minutes from 7 p.m. to 1 a.m.\" width=\"400\" height=\"176\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map-400x176.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map-800x352.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map-768x338.png 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map.png 856w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s Free B Shuttle bus will be running on New Year’s Eve every 10-15 minutes from 7 p.m. to 1 a.m. \u003ccite>(City of Oakland's Economic & Workforce Development Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Broadway Shuttle:\u003c/strong> The green\u003ca href=\"http://www.meetdowntownoak.com/shuttle.php\"> bus\u003c/a> taking passengers along Broadway from Jack London Square to 27th Street in Oakland will offer free rides from 7 a.m. on Thursday to 1 a.m. Friday every 10 to 15 minutes.\u003cbr>\n\u003ca name=\"sm\">\u003c/a>\u003c/p>\n\u003ch3>San Mateo County\u003c/h3>\n\u003cp>\u003cstrong>SamTrans:\u003c/strong> Free rides on\u003ca href=\"http://www.samtrans.com/about/MediaRelations/news/SamTrans_to_Offer_Free_Service_on_New_Year_s_Eve__Sunday_Schedule_on_New_Year_s_Day_4274.html\"> SamTrans\u003c/a> buses begin at 8 p.m. Thursday until 5 a.m. Friday. Buses will operate on a Sunday schedule on New Year's Day.\u003c/p>\n\u003cp>\u003cstrong>Redi-Wheels:\u003c/strong> The district's paratransit service will offer free rides starting at 8 p.m. Thursday.\u003cbr>\n\u003ca name=\"sc\">\u003c/a>\u003c/p>\n\u003ch3>Santa Clara County\u003c/h3>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>VTA:\u003c/strong> Santa Clara County's Valley Transportation Authority is offering free rides from 8 p.m. Thursday until 5 a.m. Friday. \u003ca href=\"http://www.vta.org/News-and-Media/Connect-with-VTA/Ride-VTA-on-Us-This-New-Years-Eve#.VoGGrPmANHx\">Extended service\u003c/a> will be offered for the Mountain View-Winchester and Alum Rock-Santa Teresa light-rail lines.\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"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",
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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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}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/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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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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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"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",
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"source": "NPR"
},
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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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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"order": 15
},
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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",
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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"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"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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"meta": {
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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",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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