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"content": "\u003cp>After inspiring people to dance for almost four years, \u003ca href=\"http://www.studio1924.com/\" target=\"_blank\" rel=\"noopener\">Studio 1924, \u003c/a> which was once described as being “\u003ca href=\"http://oakland.oakland.awardsystem.org/PressReleaseub.aspx?cc=DEUS-RBDS-Y7CC\" target=\"_blank\" rel=\"noopener\">Best Dance School\u003c/a>” in Oakland, will be closing its doors at its current location on Feb. 10 of next year.\u003c/p>\n\u003cp>The building’s owner — the third in just as many years — recently informed the studio’s owners that their lease will not be extended, according to studio co-founder Melissa Agocs.\u003c/p>\n\u003cp>“The most recent owners originally said the business could be on a month-to-month basis until a new location was found, but then changed their minds,” wrote Agocs in an email to KQED.\u003c/p>\n\u003cp>The studio first opened in 2012, when Agocs took a leap of faith and began renting the downtown Oakland space shortly after being laid off her previous job. Agocs and fellow co-founder Count Glover agreed to lease the space when the owner at the time was about to leave the country.\u003c/p>\n\u003cp>“We were kinda under the gun,” says Glover of their initial decision to lease.\u003c/p>\n\u003cfigure id=\"attachment_11181879\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11181879 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-800x449.jpg\" alt=\"Night-events-studio-1924-oakland\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-1920x1077.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based Studio 1924 will be forced to leave its Franklin Street premise in February, 2016. \u003ccite>(Photo: Melissa Agocs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The studio first became popular as a venue for people to stay active during their lunch break. Now the studio has three-to-four classes each day and is packed with kids classes on Saturdays.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We are a little bit more eclectic in terms of what we have to offer here,” Glover says about the wide range of classes as well as people who attend.\u003c/p>\n\u003cp>Agocs says people use the time during classes to get to know one another beyond the screens, “It’s good for the brain and body,” she says. With many proven positive effects, Agocs notes that dance is even \u003ca href=\"http://www.berkeleywellness.com/fitness/active-lifestyle/article/many-health-benefits-dancing\" target=\"_blank\" rel=\"noopener\">prescribed\u003c/a> as a treatment for some.\u003c/p>\n\u003cp>James Wiester, who works in San Francisco’s booming construction business, started dancing at Studio 1924 about two years ago and is now a regular who shows up twice a week for salsa classes. For him, the studio’s diverse environment, made up of dancers of all ages, ethnicities and livelihoods, is what he appreciated most about the studio.\u003c/p>\n\u003cp>“The environment they have created is among the best I have seen in the Bay Area,” Wiester says.\u003c/p>\n\u003cp>Despite full classes and dedicated customers, the studio has fallen to \u003ca href=\"http://www.eastbayexpress.com/SevenDays/archives/2015/12/09/study-oaklands-housing-affordability-crisis-is-the-worst-among-major-us-cities\" target=\"_blank\" rel=\"noopener\">a growing affordability crisis\u003c/a> in Oakland. Rents for nearby spaces have easily doubled in the last few years, according to Glover.\u003c/p>\n\u003cp>“We joke that Oakland is the new Brooklyn,” Glover says.\u003c/p>\n\u003cp>Gina Hill, who moved to Oakland to teach in the mid 1990s, has been taking samba classes at Studio 1924 since it opened and is frustrated to see yet another art space close down.\u003c/p>\n\u003cp>“Gentrification is a huge part of it,” Hill says. “People of color and artists end up not being able to stay and afford Oakland.”\u003c/p>\n\u003cfigure id=\"attachment_11185075\" class=\"wp-caption alignright\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11185075\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Couple01.jpg\" alt=\"Dancers at Studio 1924\" width=\"900\" height=\"752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01-400x334.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01-718x600.jpg 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01-768x642.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Studio 1924 \u003ccite>(Photo: Melissa Agocs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hill is guessing the space will be renovated and flipped to create more “boring office space.”\u003c/p>\n\u003cp>The owners have been on the hunt for a new space since the spring, but are finding the search for another studio in the Bay Area increasingly difficult. As for the space, the current tenants do not know who will be next to occupy 1924 Franklin St., just blocks from the 19th Street Bart station, but it’s highly unlikely it will be anything like Studio 1924.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>We’ve reached out to the building’s owner for comment and we will update this story when we hear back.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After inspiring people to dance for almost four years, \u003ca href=\"http://www.studio1924.com/\" target=\"_blank\" rel=\"noopener\">Studio 1924, \u003c/a> which was once described as being “\u003ca href=\"http://oakland.oakland.awardsystem.org/PressReleaseub.aspx?cc=DEUS-RBDS-Y7CC\" target=\"_blank\" rel=\"noopener\">Best Dance School\u003c/a>” in Oakland, will be closing its doors at its current location on Feb. 10 of next year.\u003c/p>\n\u003cp>The building’s owner — the third in just as many years — recently informed the studio’s owners that their lease will not be extended, according to studio co-founder Melissa Agocs.\u003c/p>\n\u003cp>“The most recent owners originally said the business could be on a month-to-month basis until a new location was found, but then changed their minds,” wrote Agocs in an email to KQED.\u003c/p>\n\u003cp>The studio first opened in 2012, when Agocs took a leap of faith and began renting the downtown Oakland space shortly after being laid off her previous job. Agocs and fellow co-founder Count Glover agreed to lease the space when the owner at the time was about to leave the country.\u003c/p>\n\u003cp>“We were kinda under the gun,” says Glover of their initial decision to lease.\u003c/p>\n\u003cfigure id=\"attachment_11181879\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11181879 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-800x449.jpg\" alt=\"Night-events-studio-1924-oakland\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-1920x1077.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Night-events-studio-1924-oakland-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based Studio 1924 will be forced to leave its Franklin Street premise in February, 2016. \u003ccite>(Photo: Melissa Agocs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The studio first became popular as a venue for people to stay active during their lunch break. Now the studio has three-to-four classes each day and is packed with kids classes on Saturdays.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We are a little bit more eclectic in terms of what we have to offer here,” Glover says about the wide range of classes as well as people who attend.\u003c/p>\n\u003cp>Agocs says people use the time during classes to get to know one another beyond the screens, “It’s good for the brain and body,” she says. With many proven positive effects, Agocs notes that dance is even \u003ca href=\"http://www.berkeleywellness.com/fitness/active-lifestyle/article/many-health-benefits-dancing\" target=\"_blank\" rel=\"noopener\">prescribed\u003c/a> as a treatment for some.\u003c/p>\n\u003cp>James Wiester, who works in San Francisco’s booming construction business, started dancing at Studio 1924 about two years ago and is now a regular who shows up twice a week for salsa classes. For him, the studio’s diverse environment, made up of dancers of all ages, ethnicities and livelihoods, is what he appreciated most about the studio.\u003c/p>\n\u003cp>“The environment they have created is among the best I have seen in the Bay Area,” Wiester says.\u003c/p>\n\u003cp>Despite full classes and dedicated customers, the studio has fallen to \u003ca href=\"http://www.eastbayexpress.com/SevenDays/archives/2015/12/09/study-oaklands-housing-affordability-crisis-is-the-worst-among-major-us-cities\" target=\"_blank\" rel=\"noopener\">a growing affordability crisis\u003c/a> in Oakland. Rents for nearby spaces have easily doubled in the last few years, according to Glover.\u003c/p>\n\u003cp>“We joke that Oakland is the new Brooklyn,” Glover says.\u003c/p>\n\u003cp>Gina Hill, who moved to Oakland to teach in the mid 1990s, has been taking samba classes at Studio 1924 since it opened and is frustrated to see yet another art space close down.\u003c/p>\n\u003cp>“Gentrification is a huge part of it,” Hill says. “People of color and artists end up not being able to stay and afford Oakland.”\u003c/p>\n\u003cfigure id=\"attachment_11185075\" class=\"wp-caption alignright\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11185075\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Couple01.jpg\" alt=\"Dancers at Studio 1924\" width=\"900\" height=\"752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01-400x334.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01-718x600.jpg 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Couple01-768x642.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Studio 1924 \u003ccite>(Photo: Melissa Agocs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hill is guessing the space will be renovated and flipped to create more “boring office space.”\u003c/p>\n\u003cp>The owners have been on the hunt for a new space since the spring, but are finding the search for another studio in the Bay Area increasingly difficult. As for the space, the current tenants do not know who will be next to occupy 1924 Franklin St., just blocks from the 19th Street Bart station, but it’s highly unlikely it will be anything like Studio 1924.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>We’ve reached out to the building’s owner for comment and we will update this story when we hear back.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Archive Documents California Immigrant Story, Through Music",
"title": "Archive Documents California Immigrant Story, Through Music",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>In the 1930s, an extraordinary woman set up shop in a modest office on Shattuck Avenue in Berkeley. Her goal? To record an ethnographic survey of California folk music, using 237 blank acetate disks supplied by the Library of Congress\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">. \u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">Sidney Robertson Cowell\u003c/a> traveled the state with a clunky recording device, seeking out folk musicians, from Armenian Oud players to Hungarian singers. She created a remarkable archive of recordings of 185 musicians from numerous ethnic groups, in 12 languages. The music, along with photographs and technical drawings of musical instruments, is part of a collection at the \u003ca href=\"https://www.loc.gov/folklife/\">American Folklife Center at the Library of Congress.\u003c/a>\u003c/p>\n\u003cp>http://stream.media.loc.gov/webcasts/2015/150909plc1700/data/150909plc1700_768x432_800.mp4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Here’s what Russell Rodriguez of the \u003ca href=\"http://www.actaonline.org/\">Alliance for California Traditional Arts\u003c/a> (ACTA) and Sojin Kim of the \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Smithsonian Center for Folklife and Cultural Heritage\u003c/a> had to say about Cowell’s work:\u003c/p>\n\u003cblockquote>\u003cp>Cowell collected from people whose experiences were unrepresented, if not unrecorded at the time. She was interested in what people were singing, recognizing this would be represented in different languages, sounds, and aesthetics. She understood that California was made up of people who brought cultural repertoire from many different places. It's a remarkable inclination given that the 1930s were an era marked by such Nativist reactions as the exclusion of Asian immigrants and the mass deportations of Mexicans and Mexican Americans.\u003c/p>\u003c/blockquote>\n\u003cp>Now, ACTA and the Smithsonian are teaming up with the national Latino public radio network \u003ca href=\"http://radiobilingue.org/en/\">Radio Bilingue\u003c/a> to continue where Cowell left off. The \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Sounds of California\u003c/a> project will document contemporary music through the lens of migration and immigration. The goal is to provide a lasting sound archive to be housed at the Library of Congress.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238197469\" 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>ACTA supports traditional arts passed down from one generation to the next: everything from African-American quilt-making to cowboy poetry to Vietnamese opera in California. Documenting the immigrant experience through sound is a natural extension of that work, says Executive Director Amy Kitchener.\u003c/p>\n\u003cp>“The immigrant experience is, of course, a very integral sound of California,” says Kitchener. \"One of the things I like to think about is that immigration is a gift to California culture.”\u003c/p>\n\u003cfigure id=\"attachment_10799422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10799422\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg\" alt=\"The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \" width=\"800\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-400x179.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-768x343.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-960x428.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \u003ccite>( Lily Kharrazi/ACTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project has already started to record artists like the San Francisco-based \u003ca href=\"http://www.festalpagdiriwang.com/#!palabuniyan-kulintang-ensemble/cxlh\">Palabuniyan Kulintang Ensemble\u003c/a>. They play a traditional tuned gong that predates the influence of either Islam or Christianity in the Philippines. Some of the central figures of Kulintang music in the U.S. are based in California, like \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/danongan-kalanduyan\">Danongan “Danny” Kalunduyan.\u003c/a>\u003c/p>\n\u003cp>Ethnographers and folklorists with the project are also documenting performance and music that is rarely seen outside of immigrant communities. The “Diablo” or Devil dances of the traditional Mixteco dance group \u003ca href=\"//www.youtube.com/user/diegosolano27\">Nuu Yuku\u003c/a> are one such type of performance. These Oaxacan dancers from the San Joaquin Valley mostly work day jobs as farmworkers, but in their off time, they perform with ornate wooden devil masks adorned with deer antlers, cracking bull whips.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jxCN-trcvu0\u003c/p>\n\u003cp>“A central idea is thinking about music and forms of oral expression that are part of a community, and that are valued in a community, and are parts of the identity of different groups of people in California,” says Kitchener.\u003c/p>\n\u003cp>This includes \u003ca href=\"https://www.facebook.com/events/679656802120626/\">FandangObon, \u003c/a>an L.A.-based fusion of Son Jaracho music from Veracruz, Mexico, and the tradition of Obon dance in Japanese-American culture.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N3xVOB-HcMs\u003c/p>\n\u003cp>“This is a really very special California sound, and reflects a lot of the way that different cultural communities collaborate and know each other here,” says Kitchener.\u003c/p>\n\u003cp>The WPA California folk music project only had one recording from California Native Americans -- a Spanish Mission song. “California Sounds” is already filling in those gaps, by documenting the work of \u003ca href=\"http://ohlone.tumblr.com/\">Vincent Medina\u003c/a>, a storyteller from the Muwekma Olhone tribe, one of the original tribes in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the last native speakers passed away, Medina says, the Chochenyo language was “sleeping” for over 70 years. But he listened to old wax cylinder recordings to teach himself to speak it. Earlier this month, Medina told a story in Chochenyo, without translation, at a celebration launching the California Sounds project at the Oakland Museum of California. He told the crowd, “This is the oldest language that Oakland has ever heard.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1930s, an extraordinary woman set up shop in a modest office on Shattuck Avenue in Berkeley. Her goal? To record an ethnographic survey of California folk music, using 237 blank acetate disks supplied by the Library of Congress\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">. \u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">Sidney Robertson Cowell\u003c/a> traveled the state with a clunky recording device, seeking out folk musicians, from Armenian Oud players to Hungarian singers. She created a remarkable archive of recordings of 185 musicians from numerous ethnic groups, in 12 languages. The music, along with photographs and technical drawings of musical instruments, is part of a collection at the \u003ca href=\"https://www.loc.gov/folklife/\">American Folklife Center at the Library of Congress.\u003c/a>\u003c/p>\n\u003cp>http://stream.media.loc.gov/webcasts/2015/150909plc1700/data/150909plc1700_768x432_800.mp4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Here’s what Russell Rodriguez of the \u003ca href=\"http://www.actaonline.org/\">Alliance for California Traditional Arts\u003c/a> (ACTA) and Sojin Kim of the \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Smithsonian Center for Folklife and Cultural Heritage\u003c/a> had to say about Cowell’s work:\u003c/p>\n\u003cblockquote>\u003cp>Cowell collected from people whose experiences were unrepresented, if not unrecorded at the time. She was interested in what people were singing, recognizing this would be represented in different languages, sounds, and aesthetics. She understood that California was made up of people who brought cultural repertoire from many different places. It's a remarkable inclination given that the 1930s were an era marked by such Nativist reactions as the exclusion of Asian immigrants and the mass deportations of Mexicans and Mexican Americans.\u003c/p>\u003c/blockquote>\n\u003cp>Now, ACTA and the Smithsonian are teaming up with the national Latino public radio network \u003ca href=\"http://radiobilingue.org/en/\">Radio Bilingue\u003c/a> to continue where Cowell left off. The \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Sounds of California\u003c/a> project will document contemporary music through the lens of migration and immigration. The goal is to provide a lasting sound archive to be housed at the Library of Congress.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/238197469&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/238197469'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>ACTA supports traditional arts passed down from one generation to the next: everything from African-American quilt-making to cowboy poetry to Vietnamese opera in California. Documenting the immigrant experience through sound is a natural extension of that work, says Executive Director Amy Kitchener.\u003c/p>\n\u003cp>“The immigrant experience is, of course, a very integral sound of California,” says Kitchener. \"One of the things I like to think about is that immigration is a gift to California culture.”\u003c/p>\n\u003cfigure id=\"attachment_10799422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10799422\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg\" alt=\"The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \" width=\"800\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-400x179.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-768x343.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-960x428.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \u003ccite>( Lily Kharrazi/ACTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project has already started to record artists like the San Francisco-based \u003ca href=\"http://www.festalpagdiriwang.com/#!palabuniyan-kulintang-ensemble/cxlh\">Palabuniyan Kulintang Ensemble\u003c/a>. They play a traditional tuned gong that predates the influence of either Islam or Christianity in the Philippines. Some of the central figures of Kulintang music in the U.S. are based in California, like \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/danongan-kalanduyan\">Danongan “Danny” Kalunduyan.\u003c/a>\u003c/p>\n\u003cp>Ethnographers and folklorists with the project are also documenting performance and music that is rarely seen outside of immigrant communities. The “Diablo” or Devil dances of the traditional Mixteco dance group \u003ca href=\"//www.youtube.com/user/diegosolano27\">Nuu Yuku\u003c/a> are one such type of performance. These Oaxacan dancers from the San Joaquin Valley mostly work day jobs as farmworkers, but in their off time, they perform with ornate wooden devil masks adorned with deer antlers, cracking bull whips.\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/jxCN-trcvu0'\n title='//www.youtube.com/embed/jxCN-trcvu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“A central idea is thinking about music and forms of oral expression that are part of a community, and that are valued in a community, and are parts of the identity of different groups of people in California,” says Kitchener.\u003c/p>\n\u003cp>This includes \u003ca href=\"https://www.facebook.com/events/679656802120626/\">FandangObon, \u003c/a>an L.A.-based fusion of Son Jaracho music from Veracruz, Mexico, and the tradition of Obon dance in Japanese-American culture.\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/N3xVOB-HcMs'\n title='//www.youtube.com/embed/N3xVOB-HcMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“This is a really very special California sound, and reflects a lot of the way that different cultural communities collaborate and know each other here,” says Kitchener.\u003c/p>\n\u003cp>The WPA California folk music project only had one recording from California Native Americans -- a Spanish Mission song. “California Sounds” is already filling in those gaps, by documenting the work of \u003ca href=\"http://ohlone.tumblr.com/\">Vincent Medina\u003c/a>, a storyteller from the Muwekma Olhone tribe, one of the original tribes in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the last native speakers passed away, Medina says, the Chochenyo language was “sleeping” for over 70 years. But he listened to old wax cylinder recordings to teach himself to speak it. Earlier this month, Medina told a story in Chochenyo, without translation, at a celebration launching the California Sounds project at the Oakland Museum of California. He told the crowd, “This is the oldest language that Oakland has ever heard.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>To most people, San Bernardino has never been a glamorous destination. It’s not L.A. or Palm Springs but a spot in between, maybe where you stop for gas.\u003c/p>\n\u003cp>That’s why those of us who called it home had to explain to everyone where it was. But some of them would look \u003ca href=\"http://ww2.kqed.org/news/2015/12/20/san-bernardino-rembrance\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/12/20/san-bernardino-rembrance\" target=\"_blank\" title=\"Growing Up in San Bernardino: A Remembrance\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To most people, San Bernardino has never been a glamorous destination. It’s not L.A. or Palm Springs but a spot in between, maybe where you stop for gas.\u003c/p>\n\u003cp>That’s why those of us who called it home had to explain to everyone where it was. But some of them would look \u003ca href=\"http://ww2.kqed.org/news/2015/12/20/san-bernardino-rembrance\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/12/20/san-bernardino-rembrance\" target=\"_blank\" title=\"Growing Up in San Bernardino: A Remembrance\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Tsunami Boat Creates Ties Between Crescent City and Japanese Fishing Town",
"title": "Tsunami Boat Creates Ties Between Crescent City and Japanese Fishing Town",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>In March 2011, a devastating earthquake and tsunami hit northeastern Japan. The damage was so severe that the small fishing town of Rikuzentakata was nearly flattened with 80 percent of it destroyed and more than 1,600 people dead. Almost five years have passed and the city is still recovering, but thanks to a few high school students on California's North Coast, a little bit of hope has emerged from some recovered tsunami debris.\u003c/p>\n\u003cp>It started at a beach in Crescent City. Cmdr. Bill Steven, of the Del Norte County Sheriff's Department, remembers answering a phone call one night in April 2013.\u003c/p>\n\u003cp>“We’d received a call from some people that said, 'Hey, there’s something suspicious happening on South Beach.' \"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238197745\" 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>At first he thought people were stealing things from the harbor. But after he and other o\u003cspan style=\"font-weight: 400\">fficers from the Sheriff’s Department arrived, he saw that people were actually trying to lift an object out of the water. It was a small 20-foot fishing boat that washed up on the beach. It had flipped over in the ocean, and he could see that gooseneck barnacles covered the boat’s interior.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10798063\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17835_22178790101_e1caa1d747_o-qut\" rel=\"attachment wp-att-10798063\">\u003cimg class=\"wp-image-10798063 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-800x1067.jpg\" alt=\"When the boat arrived in Crescent City it was covered in Gooseneck barnacles. \" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">When the boat arrived in Crescent City, it was covered in gooseneck barnacles. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After transporting the boat to the Sheriff's Department, Steven was still curious about its owners.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I went to a number of people. I went to NOAA and I went to our Office of Emergencies here in town and said, ‘Hey, who’s laying claim to this boat?' \"\u003c/p>\n\u003cp>It turns out that he and the officers were in control of the boat, at least for the time being. That wasn't quite the answer Steven was looking for, but that did give him some time to figure out more about the boat. \u003cspan style=\"font-weight: 400\">After removing a few of the barnacles, he saw some Japanese symbols. That’s when he realized the boat was debris from the Japanese tsunami of 2011.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The symbols translated to: \u003c/span>\u003cspan style=\"font-weight: 400\">Takata High School.\u003c/span>\u003c/p>\n\u003cp>Steven didn’t know where that was exactly, but it made him think of his son, John, who was at the time a junior at Del Norte High School. That's when he approached John with a proposition.\u003c/p>\n\u003cp>“I called him into the living room and said, ‘Hey I got an idea. Tell me what you think.' \"\u003c/p>\n\u003cp>The idea was that his son and a few friends could clean up the boat and send it back to the high school in Japan, sort of like a small weekend project for Del Norte High.\u003c/p>\n\u003cp>John and six other students spent a day cleaning the boat, which included scrubbing barnacles for several hours. He never thought anything more could come out of it.\u003c/p>\n\u003cp>“We just thought it was something fun to do. You know, like send the boat back and it would be cool. We never had any idea how big this would get.”\u003c/p>\n\u003cfigure id=\"attachment_10798116\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17840_22168601975_a00db89ecf_o-qut\" rel=\"attachment wp-att-10798116\">\u003cimg class=\"size-full wp-image-10798116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17840_22168601975_a00db89ecf_o-qut.jpg\" alt=\"John Steven admires Kamome once all the barnacles were removed. \" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17840_22168601975_a00db89ecf_o-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17840_22168601975_a00db89ecf_o-qut-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Steven admires Kamome once all the barnacles were removed. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a bit of hard work, they could see the boat's name: Kamome, which means \"seagull\" in Japanese.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The community felt a deeper connection to the little boat. Crescent City has a long history with tsunamis. One nearly destroyed the town in 1964, and in 2011 part of its harbor was damaged from the same Japanese tsunami when it moved across the Pacific.\u003c/span>\u003c/p>\n\u003cp>A few more people found out about the boat, including Humboldt State University geologist Lori Dengler. She recognized the boat's origins because she studied recovery efforts after the 2011 tsunami and earthquake.\u003c/p>\n\u003cp>“I knew where it had come from. I had seen the city before, and I recognized that this was just an extraordinary connection,\" she said.\u003c/p>\n\u003cp>Dengler submitted paperwork to the National Oceanic and Atmospheric Administration and the Japanese Consulate. She also used social media to find out if anyone wanted Kamome back.\u003c/p>\n\u003cp>“All I did was just post a little note on the Facebook page. It said, 'We found this boat, It says Takata High School. Is it by any chance your boat?' ” she said.\u003c/p>\n\u003cp>That's when she informally met Amya Miller, the global public relations director for Rikuzentakata, who happened to be on the Facebook page.\u003c/p>\n\u003cp>“So I write back to Lori and say, ‘Yes this is our boat.' And that's how this incredible journey began.' ”\u003c/p>\n\u003cp>Dengler was ecstatic to receive a reply.\u003c/p>\n\u003cp>“Getting that message just sent chills up and down my spine. I jumped up in the air, pumped my fist up and said, “YES! We've connected!' ”\u003c/p>\n\u003cp>She also realized that Kamome was more than just tsunami debris. For Rikuzentakata, this boat was a glimmer of hope for the community.\u003c/p>\n\u003cp>Kamome eventually returned to Japanese shores, thanks to the NOAA and the Japanese Consulate. It was transported on a freighter via the Port of San Francisco. \u003cspan style=\"font-weight: 400\">City officials from Rikuzentakata greeted the boat at the docks in October 2013, and as part of the celebration Takata High invited John Steven and his friends -- who had cleaned the boat -- to visit them in Japan. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10798112\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17838_21545972694_75f4e2f3a6_o-qut\" rel=\"attachment wp-att-10798112\">\u003cimg class=\"size-medium wp-image-10798112\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-800x534.jpg\" alt=\"Del Norte High School and Takata High School students connect. \" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-960x641.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Del Norte High School and Takata High School students connect. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>John remembers meeting with Takata High School students in February 2014. That's when he realized how much this boat had affected them.\u003c/p>\n\u003cp>\"You didn’t realize how much they actually appreciate it till you were there and talking to them face to face. It was really amazing and I was really honored to be a part of that,\" he said.\u003c/p>\n\u003cp>He never thought they'd have so much in common.\u003c/p>\n\u003cp>“You know, well, we’re a small fishing community and so are they. They’re right on the ocean like we are,\" he said.\u003c/p>\n\u003cp>Takata High and Del Norte High became sister schools earlier this year and both schools are hoping to create more programs that connect them, including an event that let Takata High School students visit Crescent City and see the Coastal Redwoods in February 2015.\u003c/p>\n\u003cp>As for Kamome, it was on display at the\u003cspan style=\"font-weight: 400\"> Tokyo National Museum for several months. The boat is now in storage back in Rikuzentakata, where it will be exhibited in a new museum that’s still being built.\u003c/span>\u003c/p>\n\u003cp>The story of Kamome is not one to be forgotten. \u003cspan style=\"font-weight: 400\">This year, Dengler and Miller published a bilingual children’s book about the experience: \u003c/span>\u003cb>\u003ca href=\"http://www2.humboldt.edu/kamome/\">\"The Extraordinary Journey of Kamome: A Tsunami Boat Comes Home.\"\u003c/a>\u003c/b>\u003cspan style=\"font-weight: 400\"> They held their first reading in Crescent City and will visit the National Japanese American Historical Society in San Francisco and Eastwind Books in Berkeley in January 2016. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10798113\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17436_perdita_romania_1454_001-qut-1\" rel=\"attachment wp-att-10798113\">\u003cimg class=\"size-medium wp-image-10798113\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-800x618.jpg\" alt=\"The Extraordinary Voyage of Kamome: A Tsunami Boat Comes Home. By Lori Dengler and Amya Miller. Illustrated by Amy Uyeki.\" width=\"800\" height=\"618\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-800x618.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-400x309.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-768x594.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-1440x1113.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-1180x912.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-960x742.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"The Extraordinary Voyage of Kamome: A Tsunami Boat Comes Home.\" By Lori Dengler and Amya Miller. Illustrated by Amy Uyeki. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While Kamome’s journey across the Pacific has ended, the students of Del Norte and Takata high schools are forever changed. Kamome reminds us that hope \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">still\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> floats even after a tsunami.\u003c/span>\u003c/p>\n\n",
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"excerpt": "'You know, well, we’re a small fishing community and so are they, they’re right on the ocean like we are,' says Crescent City teenager.",
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"description": "'You know, well, we’re a small fishing community and so are they, they’re right on the ocean like we are,' says Crescent City teenager.",
"title": "Tsunami Boat Creates Ties Between Crescent City and Japanese Fishing Town | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In March 2011, a devastating earthquake and tsunami hit northeastern Japan. The damage was so severe that the small fishing town of Rikuzentakata was nearly flattened with 80 percent of it destroyed and more than 1,600 people dead. Almost five years have passed and the city is still recovering, but thanks to a few high school students on California's North Coast, a little bit of hope has emerged from some recovered tsunami debris.\u003c/p>\n\u003cp>It started at a beach in Crescent City. Cmdr. Bill Steven, of the Del Norte County Sheriff's Department, remembers answering a phone call one night in April 2013.\u003c/p>\n\u003cp>“We’d received a call from some people that said, 'Hey, there’s something suspicious happening on South Beach.' \"\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/238197745&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/238197745'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At first he thought people were stealing things from the harbor. But after he and other o\u003cspan style=\"font-weight: 400\">fficers from the Sheriff’s Department arrived, he saw that people were actually trying to lift an object out of the water. It was a small 20-foot fishing boat that washed up on the beach. It had flipped over in the ocean, and he could see that gooseneck barnacles covered the boat’s interior.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10798063\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17835_22178790101_e1caa1d747_o-qut\" rel=\"attachment wp-att-10798063\">\u003cimg class=\"wp-image-10798063 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-800x1067.jpg\" alt=\"When the boat arrived in Crescent City it was covered in Gooseneck barnacles. \" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17835_22178790101_e1caa1d747_o-qut-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">When the boat arrived in Crescent City, it was covered in gooseneck barnacles. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After transporting the boat to the Sheriff's Department, Steven was still curious about its owners.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I went to a number of people. I went to NOAA and I went to our Office of Emergencies here in town and said, ‘Hey, who’s laying claim to this boat?' \"\u003c/p>\n\u003cp>It turns out that he and the officers were in control of the boat, at least for the time being. That wasn't quite the answer Steven was looking for, but that did give him some time to figure out more about the boat. \u003cspan style=\"font-weight: 400\">After removing a few of the barnacles, he saw some Japanese symbols. That’s when he realized the boat was debris from the Japanese tsunami of 2011.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The symbols translated to: \u003c/span>\u003cspan style=\"font-weight: 400\">Takata High School.\u003c/span>\u003c/p>\n\u003cp>Steven didn’t know where that was exactly, but it made him think of his son, John, who was at the time a junior at Del Norte High School. That's when he approached John with a proposition.\u003c/p>\n\u003cp>“I called him into the living room and said, ‘Hey I got an idea. Tell me what you think.' \"\u003c/p>\n\u003cp>The idea was that his son and a few friends could clean up the boat and send it back to the high school in Japan, sort of like a small weekend project for Del Norte High.\u003c/p>\n\u003cp>John and six other students spent a day cleaning the boat, which included scrubbing barnacles for several hours. He never thought anything more could come out of it.\u003c/p>\n\u003cp>“We just thought it was something fun to do. You know, like send the boat back and it would be cool. We never had any idea how big this would get.”\u003c/p>\n\u003cfigure id=\"attachment_10798116\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17840_22168601975_a00db89ecf_o-qut\" rel=\"attachment wp-att-10798116\">\u003cimg class=\"size-full wp-image-10798116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17840_22168601975_a00db89ecf_o-qut.jpg\" alt=\"John Steven admires Kamome once all the barnacles were removed. \" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17840_22168601975_a00db89ecf_o-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17840_22168601975_a00db89ecf_o-qut-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Steven admires Kamome once all the barnacles were removed. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a bit of hard work, they could see the boat's name: Kamome, which means \"seagull\" in Japanese.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The community felt a deeper connection to the little boat. Crescent City has a long history with tsunamis. One nearly destroyed the town in 1964, and in 2011 part of its harbor was damaged from the same Japanese tsunami when it moved across the Pacific.\u003c/span>\u003c/p>\n\u003cp>A few more people found out about the boat, including Humboldt State University geologist Lori Dengler. She recognized the boat's origins because she studied recovery efforts after the 2011 tsunami and earthquake.\u003c/p>\n\u003cp>“I knew where it had come from. I had seen the city before, and I recognized that this was just an extraordinary connection,\" she said.\u003c/p>\n\u003cp>Dengler submitted paperwork to the National Oceanic and Atmospheric Administration and the Japanese Consulate. She also used social media to find out if anyone wanted Kamome back.\u003c/p>\n\u003cp>“All I did was just post a little note on the Facebook page. It said, 'We found this boat, It says Takata High School. Is it by any chance your boat?' ” she said.\u003c/p>\n\u003cp>That's when she informally met Amya Miller, the global public relations director for Rikuzentakata, who happened to be on the Facebook page.\u003c/p>\n\u003cp>“So I write back to Lori and say, ‘Yes this is our boat.' And that's how this incredible journey began.' ”\u003c/p>\n\u003cp>Dengler was ecstatic to receive a reply.\u003c/p>\n\u003cp>“Getting that message just sent chills up and down my spine. I jumped up in the air, pumped my fist up and said, “YES! We've connected!' ”\u003c/p>\n\u003cp>She also realized that Kamome was more than just tsunami debris. For Rikuzentakata, this boat was a glimmer of hope for the community.\u003c/p>\n\u003cp>Kamome eventually returned to Japanese shores, thanks to the NOAA and the Japanese Consulate. It was transported on a freighter via the Port of San Francisco. \u003cspan style=\"font-weight: 400\">City officials from Rikuzentakata greeted the boat at the docks in October 2013, and as part of the celebration Takata High invited John Steven and his friends -- who had cleaned the boat -- to visit them in Japan. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10798112\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17838_21545972694_75f4e2f3a6_o-qut\" rel=\"attachment wp-att-10798112\">\u003cimg class=\"size-medium wp-image-10798112\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-800x534.jpg\" alt=\"Del Norte High School and Takata High School students connect. \" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut-960x641.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17838_21545972694_75f4e2f3a6_o-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Del Norte High School and Takata High School students connect. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>John remembers meeting with Takata High School students in February 2014. That's when he realized how much this boat had affected them.\u003c/p>\n\u003cp>\"You didn’t realize how much they actually appreciate it till you were there and talking to them face to face. It was really amazing and I was really honored to be a part of that,\" he said.\u003c/p>\n\u003cp>He never thought they'd have so much in common.\u003c/p>\n\u003cp>“You know, well, we’re a small fishing community and so are they. They’re right on the ocean like we are,\" he said.\u003c/p>\n\u003cp>Takata High and Del Norte High became sister schools earlier this year and both schools are hoping to create more programs that connect them, including an event that let Takata High School students visit Crescent City and see the Coastal Redwoods in February 2015.\u003c/p>\n\u003cp>As for Kamome, it was on display at the\u003cspan style=\"font-weight: 400\"> Tokyo National Museum for several months. The boat is now in storage back in Rikuzentakata, where it will be exhibited in a new museum that’s still being built.\u003c/span>\u003c/p>\n\u003cp>The story of Kamome is not one to be forgotten. \u003cspan style=\"font-weight: 400\">This year, Dengler and Miller published a bilingual children’s book about the experience: \u003c/span>\u003cb>\u003ca href=\"http://www2.humboldt.edu/kamome/\">\"The Extraordinary Journey of Kamome: A Tsunami Boat Comes Home.\"\u003c/a>\u003c/b>\u003cspan style=\"font-weight: 400\"> They held their first reading in Crescent City and will visit the National Japanese American Historical Society in San Francisco and Eastwind Books in Berkeley in January 2016. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10798113\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/2015/12/19/tsunami-boat-creates-ties-between-crescent-city-and-japanese-fishing-town/rs17436_perdita_romania_1454_001-qut-1\" rel=\"attachment wp-att-10798113\">\u003cimg class=\"size-medium wp-image-10798113\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-800x618.jpg\" alt=\"The Extraordinary Voyage of Kamome: A Tsunami Boat Comes Home. By Lori Dengler and Amya Miller. Illustrated by Amy Uyeki.\" width=\"800\" height=\"618\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-800x618.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-400x309.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-768x594.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-1440x1113.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-1180x912.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17436_PERDITA_Romania_1454_001-qut-1-960x742.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"The Extraordinary Voyage of Kamome: A Tsunami Boat Comes Home.\" By Lori Dengler and Amya Miller. Illustrated by Amy Uyeki. \u003ccite>(Humboldt State Kamome Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While Kamome’s journey across the Pacific has ended, the students of Del Norte and Takata high schools are forever changed. Kamome reminds us that hope \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">still\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> floats even after a tsunami.\u003c/span>\u003c/p>\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/TDL20151218.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Now through Jan. 2nd:\u003c/strong> Jane Austen’s 1815 novel \u003cem>Emma\u003c/em> inspired the hit teen movie \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=RS0KyTZ3Ie4\" target=\"_blank\" rel=\"noopener\">Clueless\u003c/a>, \u003c/em>so a musical adaptation for the stage is hardly radical. Paul Gordon wrote the music and book, and it became the biggest hit ever for \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks\u003c/a> in Palo Alto in 2007. This remounting features the original leads, Lianne Marie Dobbs as the pushy matchmaker, Emma, and Timothy Gulan as Mr. Knightly, but adaptor Gordon has\u003cspan style=\"line-height: 1.5\"> added some new material, and it’s as charming as the first time. Details\u003ca href=\"http://www.theatreworks.org/shows/1516-season/emma\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11171315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11171315 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1180x785.jpg\" alt=\"Emma Woodhouse (Lianne Marie Dobbs) with family and friends in TheatreWorks production of 'Jane Austen’s Emma'\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emma Woodhouse (Lianne Marie Dobbs) is surrounded by family and friends in TheatreWorks production of ‘Jane Austen’s Emma’ \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 19 & 20: \u003c/strong>Two musical organizations, both celebrating big anniversaries, are teaming up for this holiday gift to the South Bay. The forty voice \u003ca href=\"http://www.choralproject.org/\" target=\"_blank\" rel=\"noopener\">Choral Project\u003c/a> has been together 20 years, and the \u003ca href=\"http://www.sjco.org/SJCO/index.html\" target=\"_blank\" rel=\"noopener\">San José Chamber Orchestra\u003c/a> is celebrating 25 years. They’re teaming up for their 12th annual \u003ca href=\"http://www.choralproject.org/concerts/\" target=\"_blank\" rel=\"noopener\">Winter’s Gifts concert\u003c/a>. They’re doing a world premiere commission by Richard Burchard, something new from Choral Project director Daniel Hughes, and music by Ennio Moricone of spaghetti western fame. The concerts are Dec. 19th at First Presbyterian Church in Palo Alto, and Dec. 20th at Mission Santa Clara de Asis. Details \u003ca href=\"http://www.sjco.org/SJCO/next-season.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11171598\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11171598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1180x769.jpg\" alt=\"The Choral Project\" width=\"640\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-960x626.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Choral Project \u003ccite>(Photo Courtesy of The Choral Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 18 & 22:\u003c/strong> I’m not so in love with the lo-fi aesthetics, but San Francisco’s \u003ca href=\"https://www.facebook.com/sarahbethenelson\" target=\"_blank\" rel=\"noopener\">Sarah Bethe Nelson\u003c/a> writes killer songs. “Paying\u003cem>,” \u003c/em>off her album \u003cem>\u003ca href=\"http://burgerrecords.11spot.com/sarah-bethe-nelson-fast-moving-clouds.html\" target=\"_blank\" rel=\"noopener\">Fast Moving Clouds\u003c/a> \u003c/em>(Burger Records)\u003cem>,\u003c/em> is one of \u003ca href=\"http://americansongwriter.com/2015/12/american-songwriter-top50-songs-of-2015/\" target=\"_blank\" rel=\"noopener\">\u003cem>American Songwriter\u003c/em>’s Top 50 Songs of 2015\u003c/a>. It’s about shutting down an ex-boyfriend who once got free drinks when she was bartending, and Nelson’s flat delivery is devastating. She plays \u003ca href=\"http://www.hemlocktavern.com/calendar/sarah-bethe-nelson-yea-ming-the-rumours/\" target=\"_blank\" rel=\"noopener\">The Hemlock Tavern\u003c/a> Dec. 18, and \u003ca href=\"http://amnesiathebar.com/newp/calendar/\" target=\"_blank\" rel=\"noopener\">Amnesia\u003c/a> Dec. 22nd.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iW1rKms_WRU\u003c/p>\n\u003cp>\u003cstrong>Far Out!\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’re inaugurating a new feature this week. With Far Out!, we’re looking ahead a few weeks or months to events so big, so cool they could sell out before you even hear about them. We’re starting with the fifteenth annual \u003ca href=\"http://sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a>, running Jan. 7th-24. Lots of good choices this year, including the host of \u003ca href=\"http://www.cc.com/shows/drunk-history\" target=\"_blank\" rel=\"noopener\">Drunk History\u003c/a>, and a tribute to Christopher Guest’s \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0118111/\" target=\"_blank\" rel=\"noopener\">Waiting for Guffman\u003c/a>\u003c/em>, and we’ll talk more about Sketchfest in January, but note that shows featuring Jon Hamm are (no surprise) selling out.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P5xMrMnVsGo\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve:\u003c/strong>\u003c/p>\n\u003cp>There’s so much pressure to have the best time of your life on New Year’s Eve, maybe it’s better to stay home with your cat or dog. But if you’re venturing out, we have a few ideas:\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> \u003ca href=\"http://www.michaelfeinstein.com/\" target=\"_blank\" rel=\"noopener\">Michael Feinstein\u003c/a> knows the American songbook like few others, and he’s flying in from New York for \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6281265\" target=\"_blank\" rel=\"noopener\">2 shows \u003c/a> at his own club, \u003ca href=\"http://www.hotelnikkosf.com/feinsteins.aspx\" target=\"_blank\" rel=\"noopener\">Feinstein’s at the Nikko\u003c/a>. He told us he has a good antidote to the “best time ever” pressure, “it’s all about celebrating and the more casual it is, the more fun it is. The key is just really connecting into the vibe and going with it.”\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> We love eclectic, and so we love \u003ca href=\"http://www.decemberists.com/\" target=\"_blank\" rel=\"noopener\">The Decemberists\u003c/a>, who range-from folk-pop to rock opera. Their new album is \u003cem>What a Terrible World, What a Beautiful World\u003c/em>. Plus local Thao & the Get Down Stay Down open the show. at \u003ca href=\"http://sfmasonic.com/event/the-decemberists/\" target=\"_blank\" rel=\"noopener\">The Masonic\u003c/a>. Sounds like the “best time ever.”\u003c/p>\n\u003cp>\u003cstrong>Dec. 30 & 31:\u003c/strong> Get your disco on at \u003ca href=\"http://www.yoshis.com/search/?q=JODY%20WATLEY%20feat.%20Shalamar%20%22Reloaded%22\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> with Jody Watley (singer, songwriter, producer) and her old band, renamed Shalamar “Reloaded.” Don’t forget your platform shoes.\u003c/p>\n\u003cp>\u003cstrong>Dec. 30 & 31:\u003c/strong> \u003ca href=\"http://www.thebandconbrio.com/home/\" target=\"_blank\" rel=\"noopener\">Con Brio,\u003c/a> our absolutely favorite local, live, R&B group, is doing two nights at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a>. Lead singer Ziek McCarter twists and shouts, and the band is as tight as they come.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZbXqBhP1WT0\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> Laughing the year away might be the best therapy for a lot of us. The ribald \u003ca href=\"http://www.brava.org/current-shows/current-shows/bravas-4th-annual-new-years-eve-comedy-fiesta-w-marga-gome/#.VnNUafkrKJA\" target=\"_blank\" rel=\"noopener\">Marga Gomez hosts a comedy show at the Brava Theater\u003c/a> with an all Latino lineup. The Republican Presidential field can expect no mercy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 31-Jan. 3:\u003c/strong> We finish with a saxophonist who is the essence of funk. \u003ca href=\"http://maceoparker.com/itinerary.html\" target=\"_blank\" rel=\"noopener\">Maceo Parker \u003c/a>does a New Year’s Eve show at \u003ca href=\"https://www.sfjazz.org/events-calendar\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, but if you’re home with your dog or cat, you can enjoy this former James Brown sideman on one of three more nights.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Now through Jan. 2nd:\u003c/strong> Jane Austen’s 1815 novel \u003cem>Emma\u003c/em> inspired the hit teen movie \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=RS0KyTZ3Ie4\" target=\"_blank\" rel=\"noopener\">Clueless\u003c/a>, \u003c/em>so a musical adaptation for the stage is hardly radical. Paul Gordon wrote the music and book, and it became the biggest hit ever for \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks\u003c/a> in Palo Alto in 2007. This remounting features the original leads, Lianne Marie Dobbs as the pushy matchmaker, Emma, and Timothy Gulan as Mr. Knightly, but adaptor Gordon has\u003cspan style=\"line-height: 1.5\"> added some new material, and it’s as charming as the first time. Details\u003ca href=\"http://www.theatreworks.org/shows/1516-season/emma\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11171315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11171315 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1180x785.jpg\" alt=\"Emma Woodhouse (Lianne Marie Dobbs) with family and friends in TheatreWorks production of 'Jane Austen’s Emma'\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emma Woodhouse (Lianne Marie Dobbs) is surrounded by family and friends in TheatreWorks production of ‘Jane Austen’s Emma’ \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 19 & 20: \u003c/strong>Two musical organizations, both celebrating big anniversaries, are teaming up for this holiday gift to the South Bay. The forty voice \u003ca href=\"http://www.choralproject.org/\" target=\"_blank\" rel=\"noopener\">Choral Project\u003c/a> has been together 20 years, and the \u003ca href=\"http://www.sjco.org/SJCO/index.html\" target=\"_blank\" rel=\"noopener\">San José Chamber Orchestra\u003c/a> is celebrating 25 years. They’re teaming up for their 12th annual \u003ca href=\"http://www.choralproject.org/concerts/\" target=\"_blank\" rel=\"noopener\">Winter’s Gifts concert\u003c/a>. They’re doing a world premiere commission by Richard Burchard, something new from Choral Project director Daniel Hughes, and music by Ennio Moricone of spaghetti western fame. The concerts are Dec. 19th at First Presbyterian Church in Palo Alto, and Dec. 20th at Mission Santa Clara de Asis. Details \u003ca href=\"http://www.sjco.org/SJCO/next-season.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11171598\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11171598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1180x769.jpg\" alt=\"The Choral Project\" width=\"640\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-960x626.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Choral Project \u003ccite>(Photo Courtesy of The Choral Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 18 & 22:\u003c/strong> I’m not so in love with the lo-fi aesthetics, but San Francisco’s \u003ca href=\"https://www.facebook.com/sarahbethenelson\" target=\"_blank\" rel=\"noopener\">Sarah Bethe Nelson\u003c/a> writes killer songs. “Paying\u003cem>,” \u003c/em>off her album \u003cem>\u003ca href=\"http://burgerrecords.11spot.com/sarah-bethe-nelson-fast-moving-clouds.html\" target=\"_blank\" rel=\"noopener\">Fast Moving Clouds\u003c/a> \u003c/em>(Burger Records)\u003cem>,\u003c/em> is one of \u003ca href=\"http://americansongwriter.com/2015/12/american-songwriter-top50-songs-of-2015/\" target=\"_blank\" rel=\"noopener\">\u003cem>American Songwriter\u003c/em>’s Top 50 Songs of 2015\u003c/a>. It’s about shutting down an ex-boyfriend who once got free drinks when she was bartending, and Nelson’s flat delivery is devastating. She plays \u003ca href=\"http://www.hemlocktavern.com/calendar/sarah-bethe-nelson-yea-ming-the-rumours/\" target=\"_blank\" rel=\"noopener\">The Hemlock Tavern\u003c/a> Dec. 18, and \u003ca href=\"http://amnesiathebar.com/newp/calendar/\" target=\"_blank\" rel=\"noopener\">Amnesia\u003c/a> Dec. 22nd.\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/iW1rKms_WRU'\n title='//www.youtube.com/embed/iW1rKms_WRU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Far Out!\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’re inaugurating a new feature this week. With Far Out!, we’re looking ahead a few weeks or months to events so big, so cool they could sell out before you even hear about them. We’re starting with the fifteenth annual \u003ca href=\"http://sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a>, running Jan. 7th-24. Lots of good choices this year, including the host of \u003ca href=\"http://www.cc.com/shows/drunk-history\" target=\"_blank\" rel=\"noopener\">Drunk History\u003c/a>, and a tribute to Christopher Guest’s \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0118111/\" target=\"_blank\" rel=\"noopener\">Waiting for Guffman\u003c/a>\u003c/em>, and we’ll talk more about Sketchfest in January, but note that shows featuring Jon Hamm are (no surprise) selling out.\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/P5xMrMnVsGo'\n title='//www.youtube.com/embed/P5xMrMnVsGo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>New Year’s Eve:\u003c/strong>\u003c/p>\n\u003cp>There’s so much pressure to have the best time of your life on New Year’s Eve, maybe it’s better to stay home with your cat or dog. But if you’re venturing out, we have a few ideas:\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> \u003ca href=\"http://www.michaelfeinstein.com/\" target=\"_blank\" rel=\"noopener\">Michael Feinstein\u003c/a> knows the American songbook like few others, and he’s flying in from New York for \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6281265\" target=\"_blank\" rel=\"noopener\">2 shows \u003c/a> at his own club, \u003ca href=\"http://www.hotelnikkosf.com/feinsteins.aspx\" target=\"_blank\" rel=\"noopener\">Feinstein’s at the Nikko\u003c/a>. He told us he has a good antidote to the “best time ever” pressure, “it’s all about celebrating and the more casual it is, the more fun it is. The key is just really connecting into the vibe and going with it.”\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> We love eclectic, and so we love \u003ca href=\"http://www.decemberists.com/\" target=\"_blank\" rel=\"noopener\">The Decemberists\u003c/a>, who range-from folk-pop to rock opera. Their new album is \u003cem>What a Terrible World, What a Beautiful World\u003c/em>. Plus local Thao & the Get Down Stay Down open the show. at \u003ca href=\"http://sfmasonic.com/event/the-decemberists/\" target=\"_blank\" rel=\"noopener\">The Masonic\u003c/a>. Sounds like the “best time ever.”\u003c/p>\n\u003cp>\u003cstrong>Dec. 30 & 31:\u003c/strong> Get your disco on at \u003ca href=\"http://www.yoshis.com/search/?q=JODY%20WATLEY%20feat.%20Shalamar%20%22Reloaded%22\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> with Jody Watley (singer, songwriter, producer) and her old band, renamed Shalamar “Reloaded.” Don’t forget your platform shoes.\u003c/p>\n\u003cp>\u003cstrong>Dec. 30 & 31:\u003c/strong> \u003ca href=\"http://www.thebandconbrio.com/home/\" target=\"_blank\" rel=\"noopener\">Con Brio,\u003c/a> our absolutely favorite local, live, R&B group, is doing two nights at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a>. Lead singer Ziek McCarter twists and shouts, and the band is as tight as they come.\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/ZbXqBhP1WT0'\n title='//www.youtube.com/embed/ZbXqBhP1WT0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 31:\u003c/strong> Laughing the year away might be the best therapy for a lot of us. The ribald \u003ca href=\"http://www.brava.org/current-shows/current-shows/bravas-4th-annual-new-years-eve-comedy-fiesta-w-marga-gome/#.VnNUafkrKJA\" target=\"_blank\" rel=\"noopener\">Marga Gomez hosts a comedy show at the Brava Theater\u003c/a> with an all Latino lineup. The Republican Presidential field can expect no mercy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 31-Jan. 3:\u003c/strong> We finish with a saxophonist who is the essence of funk. \u003ca href=\"http://maceoparker.com/itinerary.html\" target=\"_blank\" rel=\"noopener\">Maceo Parker \u003c/a>does a New Year’s Eve show at \u003ca href=\"https://www.sfjazz.org/events-calendar\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, but if you’re home with your dog or cat, you can enjoy this former James Brown sideman on one of three more nights.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The groundbreaking Los Angeles rap act N.W.A. will join a quartet of 1970s era FM radio rockers — Chicago, Cheap Trick, Deep Purple and Steve Miller — as 2016 inductees into the Rock and Roll Hall of Fame.\u003c/p>\n\u003cp>N.W.A., led by Dr. Dre and Ice Cube, was elected after three unsuccessful nominations in a year when a movie about the group’s career, \u003cem>Straight Outta Compton\u003c/em>, was a box-office hit. Their hard-core tales of life on the street on songs like “F— the Police” made them a provocative chart presence in the late 1980s and influenced an empire of other acts.\u003c/p>\n\u003cp>Both Miller and Cheap Trick made it during their first year on the ballot.\u003c/p>\n\u003cp>The induction ceremony for the Cleveland-based hall will be held April 8 in Brooklyn’s Barclays Center. HBO will televise highlights later in the spring.\u003c/p>\n\u003cp>Guitarist Miller came out of the San Francisco rock scene and became a dependable maker of pop hits like “Take the Money and Run,” “Fly Like an Eagle,” “Jet Airliner” and “Jungle Love.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Midwestern favorites Cheap Trick succeeded with a highly amped version of Beatles-influenced melodies on hits “Surrender” and “Dream Police.” Their \u003cem>Live at Budokan\u003c/em> album is one of rock’s best-known live sets. Guitarist Rick Nielsen and rumpled drummer Bun E. Carlos gave them an indelible live presence.\u003c/p>\n\u003cp>Cheap Trick moved swiftly to capitalize on the honor, announcing Thursday they had signed a new deal with Taylor Swift’s label, Big Machine Records. The band will release its 17th studio album a week before its induction.\u003c/p>\n\u003cp>“Thanks to all the fans who have supported us for all these years and to the Hall of Fame members who cast their votes,” said bass player Tom Petersson. “We are excited and honored.”\u003c/p>\n\u003cp>The guitar riff for Deep Purple’s “Smoke on the Water” remains one of the most recognizable in rock history. Guitarist Ritchie Blackmore was a stalwart in a hard rock act that competed with Led Zeppelin and Black Sabbath for the loyalty of metalheads.\u003c/p>\n\u003cp>Before shortening its name from the Chicago Transit Authority, Chicago was known for its jazz-rock fusion. The band had a string of pop hits including “Saturday in the Park,” “25 or 6 to 4,” “If You Leave Me Now” and “Does Anyone Really Know What Time it Is?”\u003c/p>\n\u003cp>More than 800 voters of the Rock and Roll Hall of Fame Foundation selected the inductees.\u003c/p>\n\u003cp>The influential disco-era band Chic is becoming the Susan Lucci of music, failing to win induction in its 10th year as a nominee. Janet Jackson, The Cars, Los Lobos and Yes were among the other nominees rejected.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Follow David Bauder at twitter.com/dbauder. His work can be found at \u003ca href=\"http://bigstory.ap.org/content/david-bauder\" target=\"_blank\" rel=\"noopener\">bigstory.ap.org/content/david-bauder.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The groundbreaking Los Angeles rap act N.W.A. will join a quartet of 1970s era FM radio rockers — Chicago, Cheap Trick, Deep Purple and Steve Miller — as 2016 inductees into the Rock and Roll Hall of Fame.\u003c/p>\n\u003cp>N.W.A., led by Dr. Dre and Ice Cube, was elected after three unsuccessful nominations in a year when a movie about the group’s career, \u003cem>Straight Outta Compton\u003c/em>, was a box-office hit. Their hard-core tales of life on the street on songs like “F— the Police” made them a provocative chart presence in the late 1980s and influenced an empire of other acts.\u003c/p>\n\u003cp>Both Miller and Cheap Trick made it during their first year on the ballot.\u003c/p>\n\u003cp>The induction ceremony for the Cleveland-based hall will be held April 8 in Brooklyn’s Barclays Center. HBO will televise highlights later in the spring.\u003c/p>\n\u003cp>Guitarist Miller came out of the San Francisco rock scene and became a dependable maker of pop hits like “Take the Money and Run,” “Fly Like an Eagle,” “Jet Airliner” and “Jungle Love.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Midwestern favorites Cheap Trick succeeded with a highly amped version of Beatles-influenced melodies on hits “Surrender” and “Dream Police.” Their \u003cem>Live at Budokan\u003c/em> album is one of rock’s best-known live sets. Guitarist Rick Nielsen and rumpled drummer Bun E. Carlos gave them an indelible live presence.\u003c/p>\n\u003cp>Cheap Trick moved swiftly to capitalize on the honor, announcing Thursday they had signed a new deal with Taylor Swift’s label, Big Machine Records. The band will release its 17th studio album a week before its induction.\u003c/p>\n\u003cp>“Thanks to all the fans who have supported us for all these years and to the Hall of Fame members who cast their votes,” said bass player Tom Petersson. “We are excited and honored.”\u003c/p>\n\u003cp>The guitar riff for Deep Purple’s “Smoke on the Water” remains one of the most recognizable in rock history. Guitarist Ritchie Blackmore was a stalwart in a hard rock act that competed with Led Zeppelin and Black Sabbath for the loyalty of metalheads.\u003c/p>\n\u003cp>Before shortening its name from the Chicago Transit Authority, Chicago was known for its jazz-rock fusion. The band had a string of pop hits including “Saturday in the Park,” “25 or 6 to 4,” “If You Leave Me Now” and “Does Anyone Really Know What Time it Is?”\u003c/p>\n\u003cp>More than 800 voters of the Rock and Roll Hall of Fame Foundation selected the inductees.\u003c/p>\n\u003cp>The influential disco-era band Chic is becoming the Susan Lucci of music, failing to win induction in its 10th year as a nominee. Janet Jackson, The Cars, Los Lobos and Yes were among the other nominees rejected.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Follow David Bauder at twitter.com/dbauder. His work can be found at \u003ca href=\"http://bigstory.ap.org/content/david-bauder\" target=\"_blank\" rel=\"noopener\">bigstory.ap.org/content/david-bauder.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A panel of copyright judges on Wednesday raised the amount Internet music streaming services like Pandora must pay to record labels next year and beyond.\u003c/p>\n\u003cp>The Internet radio giant hailed the ruling as “balanced” and its shares jumped, but artist and label group SoundExchange decried the decision, saying it “will erode the value of music.” SoundExchange, which distributes payments to artists and labels, said it will closely review the decision and consider its options.\u003c/p>\n\u003cp>The Copyright Royalty Board’s decision sets rates for non-interactive services like Pandora, iHeart Radio and Sirius XM for the next five years. The rates set by the board act as a minimum for services that use them as an alternative to direct deals with labels.\u003c/p>\n\u003cp>The board raised the rate for free streaming services to 17 cents per hundred plays, up from 14 cents. For paid subscription services, the rate fell to 22 cents from 25 cents. Both rates will rise with inflation through 2020.\u003c/p>\n\u003cp>Pandora CEO Brian McAndrews said in a statement the increase was one his company “can work with and grow from.” Pandora, which is based in Oakland, Calif., says its blended rate will rise 15 percent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pandora Media Inc. shares jumped 20 percent in after-hours trading following the decision to $16.10. Sirius XM Holdings Inc. shares dropped a penny after-hours to $4.08. IHeartMedia Inc. shares were unchanged at $1.10.\u003c/p>\n\u003cp>Regardless of the rate ruling, Pandora is seeking to expand its platform globally and to include more interactive features that go beyond its popular Internet radio service, which doesn’t allow listeners to select specific tracks or albums. It has about 80 million listeners.\u003c/p>\n\u003cp>Though it announced last month that it would be buying key technology from soon-to-be-shuttered on-demand streaming service Rdio, it needs to negotiate directly with music labels in order to launch such an interactive service. It also needs direct deals to expand beyond its current operations in the U.S., Australia and New Zealand.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"description": "A panel of copyright judges on Wednesday raised the amount Internet music streaming services like Pandora must pay to record labels next year and beyond. The Internet radio giant hailed the ruling as "balanced" and its shares jumped, but artist and label group SoundExchange decried the decision, saying it "will erode the value of music." SoundExchange, which distributes payments to artists and labels, said it will closely review the decision and consider its options. The Copyright Royalty Board's decision sets rates for non-interactive services like Pandora, iHeart Radio and Sirius XM for the next five years. The rates set by",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://obscuradigital.com/\" target=\"_blank\" rel=\"noopener\">Obscura Digital\u003c/a>, a creative studio based in San Francisco, helped the Vatican kick off the year-long Jubilee of Mercy last week by projecting high-definition images onto St. Peter’s Basilica.\u003c/p>\n\u003cp>The studio was chosen by the Vatican to provide a visual interpretation of Pope Francis’ 2015 encyclical (AKA a letter sent to all Roman Catholic Bishops) entitled “Laudato Si: On Care for Our Common Home,” which focused on the global environmental issues, according to \u003ci>\u003ca href=\"http://www.catholic-sf.org/ns.php?newsid=22&id=64056\" target=\"_blank\" rel=\"noopener\">Catholic San Francisco.\u003c/a>\u003c/i> The resulting hour-long light show from Digital Obscura, entitled “Fiat Lux: Illuminating Our Common Home” was publicly shown on Dec. 8, coinciding with the United Nations Framework Convention on Climate Change in Paris. (Fiat Lux is Latin for “Let there be light.”)\u003c/p>\n\u003cp>Described as a gift to the Pope by representatives of the studio, the light show featured pictures of animals facing extinction, examples of societies from all over the world and other breathtaking sights by award-winning photographers, including National Geographic’s Steve McCurry.\u003c/p>\n\u003cp>“Pope Francis is trying to create a dialogue and we were honored to support his endeavor,” Digital Obscura co-founder Travis Threlkel told Catholic San Francisco. “We’re showing the diversity and glory of God’s creation on the planet, and we’re hoping to inspire the world to have reverence for all things.” \u003c/p>\n\u003cp>https://www.facebook.com/ObscuraDigital/posts/10153761353077192\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bay Area bands, start your engines. Er, clear your desks? NPR’s second annual Tiny Desk Contest is upon us.\u003c/p>\n\u003cp>The contest, which invites artists to compete for the chance to shoot their own Tiny Desk Concert at NPR’s studios in Washington, D.C., kicks off Jan. 12, 2016 and will accept entries through Feb. 2. \u003ca href=\"http:/tinydeskcontest.npr.org\" target=\"_blank\" rel=\"noopener\">See details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/tdc_logo.png\" alt=\"tdc_logo\" width=\"630\" height=\"273\" class=\"aligncenter size-full wp-image-11163610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/tdc_logo.png 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/tdc_logo-400x173.png 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003c/p>\n\u003cp>The inaugural contest saw some 7,000 submissions from all 50 states during the seven-week submission period — but in the end, the winner was Oakland native Fantastic Negrito, a bluesman who puts on an incredible live show, with an \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">incredible back story to boot. \u003c/a>The \u003ca href=\"https://www.youtube.com/watch?v=7kWEhIXVPJA\" target=\"_blank\" rel=\"noopener\">winning video\u003c/a> was shot in an impressively cramped freight elevator in Oakland.\u003c/p>\n\u003cp>In the nearly 10 months since his win, the artist (real name: Xavier Dphrepaulezz) has ridden an \u003ca href=\"http://artsbeat.blogs.nytimes.com/2015/03/19/sxsw-music-2015-an-empire-writer-finale-tries-to-make-his-way-as-a-music-producer-in-austin/?_r=0\" target=\"_blank\" rel=\"noopener\">impressive wave \u003c/a>of \u003ca href=\"http://www.wired.com/2015/09/7-stories-about-fantastic-negrito/\" target=\"_blank\" rel=\"noopener\">national buzz\u003c/a>, including a blowout performance at South By Southwest and a high-profile spot at San Francisco’s own Outside Lands — though that latter scheduled performance was replaced with an even higher-profile, \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">arguably unjustified arrest\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Fantastic Negrito, the 2016 winner will appear at a taping of NPR’s Ask Me Another and at other events hosted by NPR Music and sponsor Lagunitas across the U.S.\u003c/p>\n\u003cp>To enter, artists must be at least 21 years old and live in the United States; video submissions are to be no longer than 10 minutes. See the full rules and regulations \u003ca href=\"http:/tinydeskcontest.npr.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And for a shot of local pride, check out Fantastic Negrito’s Tiny Desk Concert below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ymYjwsFz8iM\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area bands, start your engines. Er, clear your desks? NPR’s second annual Tiny Desk Contest is upon us.\u003c/p>\n\u003cp>The contest, which invites artists to compete for the chance to shoot their own Tiny Desk Concert at NPR’s studios in Washington, D.C., kicks off Jan. 12, 2016 and will accept entries through Feb. 2. \u003ca href=\"http:/tinydeskcontest.npr.org\" target=\"_blank\" rel=\"noopener\">See details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/tdc_logo.png\" alt=\"tdc_logo\" width=\"630\" height=\"273\" class=\"aligncenter size-full wp-image-11163610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/tdc_logo.png 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/tdc_logo-400x173.png 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003c/p>\n\u003cp>The inaugural contest saw some 7,000 submissions from all 50 states during the seven-week submission period — but in the end, the winner was Oakland native Fantastic Negrito, a bluesman who puts on an incredible live show, with an \u003ca href=\"http://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">incredible back story to boot. \u003c/a>The \u003ca href=\"https://www.youtube.com/watch?v=7kWEhIXVPJA\" target=\"_blank\" rel=\"noopener\">winning video\u003c/a> was shot in an impressively cramped freight elevator in Oakland.\u003c/p>\n\u003cp>In the nearly 10 months since his win, the artist (real name: Xavier Dphrepaulezz) has ridden an \u003ca href=\"http://artsbeat.blogs.nytimes.com/2015/03/19/sxsw-music-2015-an-empire-writer-finale-tries-to-make-his-way-as-a-music-producer-in-austin/?_r=0\" target=\"_blank\" rel=\"noopener\">impressive wave \u003c/a>of \u003ca href=\"http://www.wired.com/2015/09/7-stories-about-fantastic-negrito/\" target=\"_blank\" rel=\"noopener\">national buzz\u003c/a>, including a blowout performance at South By Southwest and a high-profile spot at San Francisco’s own Outside Lands — though that latter scheduled performance was replaced with an even higher-profile, \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">arguably unjustified arrest\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Organizers of the Burning Man counter-culture celebration are challenging the enforcement of a Nevada state tax that they say could cost them nearly $3 million.\u003c/p>\n\u003cp>Burning Man officials said in a letter to the state Department of Taxation on Friday that the festival should be exempt from the recently amended tax on live entertainment, the \u003ca href=\"http://tinyurl.com/nrfm3hq\" target=\"_blank\" rel=\"noopener\">Reno Gazette-Journal reported Saturday\u003c/a>.\u003c/p>\n\u003cp>The 25-year-old annual arts festival attracted about 80,000 participants this year to the Black Rock Desert 100 miles north of Reno.\u003c/p>\n\u003cp>Burning Man attorney Ray Allen said the nine percent tax would translate into a tax bill of about $2.8 million. He said the tax is known by some as the “Burning Man tax.”\u003c/p>\n\u003cp>“From our perspective, this is the latest attempt by an outside entity to unfairly tap the resources of Burning Man and its participants,” event organizers said in a statement posted on their web site. “Some seem to view Burning Man as the ‘golden goose’ they can turn to when they want money for other projects.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burning Man officials said they will not set 2016 ticket prices until they hear back from the taxation department because they could be forced to bump up the cost of entry to the temporary village dubbed “Black Rock City.” They urged the department to respond by Jan. 15.\u003c/p>\n\u003cp>In June, the Legislature approved a revised version of the live entertainment tax, which originally came into law in 2004 as a way for the state to gain revenue from Las Vegas’s robust live entertainment industry. The revised version became effective Oct. 1.\u003c/p>\n\u003cp>Certain events — including school, sporting, racing and nonprofit events attended by fewer than 7,500 people — remain exempt from the tax. Burning Man and the Electric Daisy Carnival, a music festival held in Las Vegas, were the two largest events newly affected by the change.\u003c/p>\n\u003cp>Burning Man maintains it should be treated as it has historically during the weeklong celebration that culminates with the burning of a towering, wooden effigy the day before Labor Day.\u003c/p>\n\u003cp>“Black Rock City is not an arena concert, a sporting event or a Las Vegas show; it’s a thriving metropolis with all the trappings of a functioning temporary city, with people camping, cooking meals, visiting neighbors, and exploring the offerings of its citizens,” the organization said in its online statement.\u003c/p>\n\u003cp>“While the Burning Man organization provides the space and basic infrastructure for Black Rock City, we simply don’t provide live entertainment as defined by the statute.”\u003c/p>\n\u003cp>Burning Man previously was exempt because it was an outdoor event, said ex-House Speaker Marilyn Kirkpatrick, D-Las Vegas, who co-sponsored the bill in March. No other newly affected organization, including the Electric Daisy Carnival, had qualms with paying the tax, she said.\u003c/p>\n\u003cp>As is, the tax brings in about $137 million annually, most of which goes toward the state’s general fund. About $150,000 will go toward the Nevada Arts Council in the future.\u003c/p>\n\u003cp>“It’s just a sign of the times. Entertainment has changed,” Kirkpatrick said. “There’s no way we could have predicted in 2003 that there would be an event like Burning Man. It’s disappointing that they take it so personal.”\u003c/p>\n\u003cp>Burning Man previously stated that an increase in ticket prices may be necessary to cover the tax. General admission tickets in 2015 were $390, a $10 increase from 2014.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Information from: Reno Gazette-Journal, http://www.rgj.com\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"description": "Organizers of the Burning Man counter-culture celebration are challenging the enforcement of a Nevada state tax that they say could cost them nearly $3 million. Burning Man officials said in a letter to the state Department of Taxation on Friday that the festival should be exempt from the recently amended tax on live entertainment, the Reno Gazette-Journal reported Saturday. The 25-year-old annual arts festival attracted about 80,000 participants this year to the Black Rock Desert 100 miles north of Reno. Burning Man attorney Ray Allen said the nine percent tax would translate into a tax bill of about $2.8 million.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burning Man officials said they will not set 2016 ticket prices until they hear back from the taxation department because they could be forced to bump up the cost of entry to the temporary village dubbed “Black Rock City.” They urged the department to respond by Jan. 15.\u003c/p>\n\u003cp>In June, the Legislature approved a revised version of the live entertainment tax, which originally came into law in 2004 as a way for the state to gain revenue from Las Vegas’s robust live entertainment industry. The revised version became effective Oct. 1.\u003c/p>\n\u003cp>Certain events — including school, sporting, racing and nonprofit events attended by fewer than 7,500 people — remain exempt from the tax. Burning Man and the Electric Daisy Carnival, a music festival held in Las Vegas, were the two largest events newly affected by the change.\u003c/p>\n\u003cp>Burning Man maintains it should be treated as it has historically during the weeklong celebration that culminates with the burning of a towering, wooden effigy the day before Labor Day.\u003c/p>\n\u003cp>“Black Rock City is not an arena concert, a sporting event or a Las Vegas show; it’s a thriving metropolis with all the trappings of a functioning temporary city, with people camping, cooking meals, visiting neighbors, and exploring the offerings of its citizens,” the organization said in its online statement.\u003c/p>\n\u003cp>“While the Burning Man organization provides the space and basic infrastructure for Black Rock City, we simply don’t provide live entertainment as defined by the statute.”\u003c/p>\n\u003cp>Burning Man previously was exempt because it was an outdoor event, said ex-House Speaker Marilyn Kirkpatrick, D-Las Vegas, who co-sponsored the bill in March. No other newly affected organization, including the Electric Daisy Carnival, had qualms with paying the tax, she said.\u003c/p>\n\u003cp>As is, the tax brings in about $137 million annually, most of which goes toward the state’s general fund. About $150,000 will go toward the Nevada Arts Council in the future.\u003c/p>\n\u003cp>“It’s just a sign of the times. Entertainment has changed,” Kirkpatrick said. “There’s no way we could have predicted in 2003 that there would be an event like Burning Man. It’s disappointing that they take it so personal.”\u003c/p>\n\u003cp>Burning Man previously stated that an increase in ticket prices may be necessary to cover the tax. General admission tickets in 2015 were $390, a $10 increase from 2014.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Information from: Reno Gazette-Journal, http://www.rgj.com\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A New Jersey man who admitted posting disparaging remarks online about comedian Jim Breuer and his family was sentenced Friday to five years’ probation.\u003c/p>\n\u003cp>Giuseppe Ionfrida, 47, was also ordered to attend psychiatric counseling, forfeit any weapons and have no contact with Breuer.\u003c/p>\n\u003cp>Ionfrida, of Mine Hill, pleaded guilty last month to harassment and contempt of court. The former pizzeria owner and the former \u003cem>Saturday Night Live\u003c/em> cast member were once friendly neighbors.\u003c/p>\n\u003cp>He admitted to writing the remarks about Breuer and his juvenile daughters between November and December 2013. He also admitted to using an alias and posting additional comments on YouTube the following year after he had been ordered to have no direct or indirect contact with Breuer or his family.\u003c/p>\n\u003cp>Breuer called the harassment “relentless” in a victim impact statement before the sentencing, \u003ca href=\"http://dailyre.co/1NMPBlc\" target=\"_blank\" rel=\"noopener\">The Daily Record reported\u003c/a>. He said Ionfrida followed his wife and daughter and bragged about owning guns.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My biggest fault is I lived across the street from this man,” Breuer said.\u003c/p>\n\u003cp>Prosecutors said that when police spoke to Ionfrida after the Internet postings, he stated: “He shamed me and it will never be over.”\u003c/p>\n\u003cp>Defense attorney Joseph Scura said that his client was provoked because Breuer ridiculed him on a national radio show. But Superior Court Judge James DeMarzo called Ionfrida’s conduct “frightening.”\u003c/p>\n\u003cp>“There’s something really askew with the defendant’s reactions,” DeMarzo said. “I do know Mr. Ionfrida in this case became unhinged.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Information from: \u003ca href=\"http://www.dailyrecord.com/\" target=\"_blank\" rel=\"noopener\">Daily Record\u003c/a> (Parsippany, N.J.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My biggest fault is I lived across the street from this man,” Breuer said.\u003c/p>\n\u003cp>Prosecutors said that when police spoke to Ionfrida after the Internet postings, he stated: “He shamed me and it will never be over.”\u003c/p>\n\u003cp>Defense attorney Joseph Scura said that his client was provoked because Breuer ridiculed him on a national radio show. But Superior Court Judge James DeMarzo called Ionfrida’s conduct “frightening.”\u003c/p>\n\u003cp>“There’s something really askew with the defendant’s reactions,” DeMarzo said. “I do know Mr. Ionfrida in this case became unhinged.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Information from: \u003ca href=\"http://www.dailyrecord.com/\" target=\"_blank\" rel=\"noopener\">Daily Record\u003c/a> (Parsippany, N.J.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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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"meta": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"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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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
},
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"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",
"meta": {
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"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"
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},
"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.",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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