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"content": "\u003cp>Rasputin Music, the record store founded in 1971 with nearly a dozen Bay Area locations, has closed its five-story store at 69 Powell St., \u003ca href=\"http://www.sfgate.com/news/article/Rasputin-Music-on-Powell-Street-in-S-F-closes-6759220.php#photo-6848942\" target=\"_blank\" rel=\"noopener\">the \u003cem>Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>News of the closure broke on Reddit Wednesday night, where an employee posted the news. According to the \u003cem>Chronicle\u003c/em>’s Alyssa Pereira, the store’s phone had already forwarded to a voicemail message announcing the closure:\u003c/p>\n\u003cblockquote>\u003cp>“We regret to inform you that the Rasputin Powell location is no longer open for business,” it says. “We appreciate your patronage and we still have our store on Haight Street at 1672 that will continue to remain open. Thank you for shopping at Rasputin Powell.”\u003c/p>\u003c/blockquote>\n\u003cp>The Powell Street location was notable for its staff position of elevator operator, as no stairs reach the building’s upper floors. Elevator operators often listened to boomboxes or iPods to pass the time between shuttling customers to the upstairs levels of the store. In a \u003ca href=\"http://www.sfgate.com/business/article/Ups-And-Downs-The-life-and-times-of-a-Rasputin-2697179.php\" target=\"_blank\" rel=\"noopener\">2004 story about the store’s elevator by Amy Wu\u003c/a>, then-store manager Jennie Romer was quoted about the job:\u003c/p>\n\u003cblockquote>\u003cp>“We’ve had people do their homework in there,” Romer says. “People will knit or draw. Someone covered the elevator with Post-it notes. We get comments from people who say, ‘It smells like pizza in here,’ or people say, ‘Is this really your job?'” There are always some people who apply just for that gig. Romer once even considered creating an elevator outfit just like the ones in New York’s ritziest hotels to make the position seem more official. \u003c/p>\u003c/blockquote>\n\u003cp>Rasputin was founded in 1971 by Ken Sarachan, whose real estate shenanigans on Telegraph Ave. in Berkeley and longtime vendetta against rivals Amoeba Music — founded in 1990 by former Rasputin employees — have soured many locals and record buyers. (The subject was most recently \u003ca href=\"http://www.eastbayexpress.com/oakland/twenty-five-year-record-store-feud-spins-again-rasputins-rubble-on-telegraph-and-haste/Content?oid=4235876\" target=\"_blank\" rel=\"noopener\">revisited by Sam Lefebvre in the \u003cem>East Bay Express\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Still others have posited another theory: that in the past several years Urban Outfitters, with a branch located directly across Powell Street from the former Rasputin, has begun to carve out more space for vinyl records in its floor plan. Recently, Urban Outfitters \u003ca href=\"http://www.forbes.com/sites/hughmcintyre/2014/09/25/urban-outfitters-is-now-the-number-one-seller-of-vinyl-in-the-world/#2715e4857a0b7232bfc162e4\" target=\"_blank\" rel=\"noopener\">boasted the highest vinyl sales\u003c/a> of any brick-and-mortar chain in the country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/40tgrt/rasputin_on_powell_street_has_permanently_closed/#cyxcoi4\" target=\"_blank\" rel=\"noopener\">the former employee\u003c/a>, several staff members will be reassigned to other Rasputin locations.\u003c/p>\n\n",
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"title": "Rasputin Music Shutters Union Square Location | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rasputin Music, the record store founded in 1971 with nearly a dozen Bay Area locations, has closed its five-story store at 69 Powell St., \u003ca href=\"http://www.sfgate.com/news/article/Rasputin-Music-on-Powell-Street-in-S-F-closes-6759220.php#photo-6848942\" target=\"_blank\" rel=\"noopener\">the \u003cem>Chronicle\u003c/em> reports\u003c/a>.\u003c/p>\n\u003cp>News of the closure broke on Reddit Wednesday night, where an employee posted the news. According to the \u003cem>Chronicle\u003c/em>’s Alyssa Pereira, the store’s phone had already forwarded to a voicemail message announcing the closure:\u003c/p>\n\u003cblockquote>\u003cp>“We regret to inform you that the Rasputin Powell location is no longer open for business,” it says. “We appreciate your patronage and we still have our store on Haight Street at 1672 that will continue to remain open. Thank you for shopping at Rasputin Powell.”\u003c/p>\u003c/blockquote>\n\u003cp>The Powell Street location was notable for its staff position of elevator operator, as no stairs reach the building’s upper floors. Elevator operators often listened to boomboxes or iPods to pass the time between shuttling customers to the upstairs levels of the store. In a \u003ca href=\"http://www.sfgate.com/business/article/Ups-And-Downs-The-life-and-times-of-a-Rasputin-2697179.php\" target=\"_blank\" rel=\"noopener\">2004 story about the store’s elevator by Amy Wu\u003c/a>, then-store manager Jennie Romer was quoted about the job:\u003c/p>\n\u003cblockquote>\u003cp>“We’ve had people do their homework in there,” Romer says. “People will knit or draw. Someone covered the elevator with Post-it notes. We get comments from people who say, ‘It smells like pizza in here,’ or people say, ‘Is this really your job?'” There are always some people who apply just for that gig. Romer once even considered creating an elevator outfit just like the ones in New York’s ritziest hotels to make the position seem more official. \u003c/p>\u003c/blockquote>\n\u003cp>Rasputin was founded in 1971 by Ken Sarachan, whose real estate shenanigans on Telegraph Ave. in Berkeley and longtime vendetta against rivals Amoeba Music — founded in 1990 by former Rasputin employees — have soured many locals and record buyers. (The subject was most recently \u003ca href=\"http://www.eastbayexpress.com/oakland/twenty-five-year-record-store-feud-spins-again-rasputins-rubble-on-telegraph-and-haste/Content?oid=4235876\" target=\"_blank\" rel=\"noopener\">revisited by Sam Lefebvre in the \u003cem>East Bay Express\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Still others have posited another theory: that in the past several years Urban Outfitters, with a branch located directly across Powell Street from the former Rasputin, has begun to carve out more space for vinyl records in its floor plan. Recently, Urban Outfitters \u003ca href=\"http://www.forbes.com/sites/hughmcintyre/2014/09/25/urban-outfitters-is-now-the-number-one-seller-of-vinyl-in-the-world/#2715e4857a0b7232bfc162e4\" target=\"_blank\" rel=\"noopener\">boasted the highest vinyl sales\u003c/a> of any brick-and-mortar chain in the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/40tgrt/rasputin_on_powell_street_has_permanently_closed/#cyxcoi4\" target=\"_blank\" rel=\"noopener\">the former employee\u003c/a>, several staff members will be reassigned to other Rasputin locations.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At software company \u003ca href=\"http://ww2.kqed.org/futureofyou/2015/06/05/at-autodesk-makers-explore-how-3-d-printing-is-transforming-medicine/\" target=\"_blank\" rel=\"noopener\">Autodesk\u003c/a> at San Francisco’s Pier 9, the 3D printers are humming. Here, people print all kinds of things, like biofabrics, prosthetic limbs, toys, jewelry and gadgets.\u003c/p>\n\u003cfigure id=\"attachment_11228541\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg\" alt=\"Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-960x720.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \u003ccite>(Photo: Adizah Eghan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But resident artist \u003ca href=\"http://www.morehshin.com/\" target=\"_blank\" rel=\"noopener\">Morehshin Allahyari\u003c/a> is using the technology to re-create a stone statue that’s over 2,000 years old.\u003c/p>\n\u003cp>It’s a chilly December afternoon, but it’s warm inside the 3D printing room. Allahyari stands at the waist-high printer in a black dress, purple tights and combat boots. Her face is framed by her short hair.\u003c/p>\n\u003cp>The printer’s UV light goes back and forth. Each movement delivers a single layer of liquid resin that quickly hardens from the UV rays. A translucent statue begins to take shape.\u003c/p>\n\u003cp>The statue is a miniature model of a life-size female figure that stood outside of the Mosul Museum in Iraq. This was before ISIS destroyed the statue along with other Hatrene sculptures and Assyrian artifacts using sledgehammers and power tools last February.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SS9yLgJ4sqo\u003c/p>\n\u003cp>In her project \u003cem>Material Speculation,\u003c/em> Allahyari is 3D modeling and printing some of those statues and artifacts that \u003ca href=\"http://news.nationalgeographic.com/2015/09/150901-isis-destruction-looting-ancient-sites-iraq-syria-archaeology/\" target=\"_blank\" rel=\"noopener\">ISIS destroyed.\u003c/a>\u003c/p>\n\u003cp>Over the past couple of years ISIS has looted and damaged over \u003ca href=\"http://www.aljazeera.com/news/2015/03/full-story-isil-takeover-mosul-museum-150309053022129.html\" target=\"_blank\" rel=\"noopener\">42 historical and archaeological sites\u003c/a>, some dating back as early as 7th century BCE. They’ve also burned books in Mosul libraries and destroyed artifacts at the archaeological site at Nimrud. The terrorist group claims these statues and figures promote idolatry. Not to mention, they are also seeking attention from the pieces they destroy and profit from the goods that they loot from these sites.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/241991695″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“[ISIS is] trying to remove this rich history in order to start afresh and also to remove any kind of interethnic interactions,” Pamela Karimi, professor of Middle Eastern art at the University of Massachusetts, Dartmouth, says.\u003c/p>\n\u003cfigure id=\"attachment_11228542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228542\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg\" alt=\"The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu-.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says her work is about re-establishing that connection to parts of the Middle East that have been separated by conflict.\u003c/p>\n\u003cp>“I’m originally from Iran. these artifacts are from Iraq. But these are all older, from 2,500 – 3,000 years ago, and this is when history was shared between all these countries,” says Allahyari.\u003c/p>\n\u003cp>Karimi says terrorists have destroyed historical artifacts in many parts of the world. But the destruction of sites in the Middle East is particularly significant.\u003c/p>\n\u003cp>“So the Middle East is where the world’s first cities emerged and the world’s first governmental entities were first introduced,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11228424\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228424\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg\" alt=\"King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says there was little information to draw from when she first set out to do her project. Wanting to address this issue for future generations, she turns her own works in tiny time capsules. She’s inserted a thumb drive loaded with PDF files, maps and other research relating to the destroyed artifacts inside each one.\u003c/p>\n\u003cp>“This is basically the way to go in the future: to not only create a nostalgic art work that reminds us what’s happening, but something that provides solutions for how you preserve the memory for future generations,” Karimi, a supporter of Allahyari, says.\u003c/p>\n\u003cp>\u003cstrong>How It’s Done\u003c/strong>\u003c/p>\n\u003cp>To make these to-scale statues Allahyari had to find images online and use them as source material to 3D model the artifacts. For most 3D models, people take hundreds of pictures of one item. Allahyari doesn’t have that luxury because the items she is modeling no longer exist, so she uses Flickr.\u003c/p>\n\u003cp>After creating a 3D model, she runs it through different software programs to fix meshes and errors. Then she does a test print to make sure everything looks good before printing the final model.\u003c/p>\n\u003cfigure id=\"attachment_11228654\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11228654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg\" alt='A model of a female figure that stood outside of the Mosul Museum in Iraq. \"You can think about them as a technology and a way to resist the removal of history,\" says Allahyari.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A model of a female figure that stood outside of the Mosul Museum in Iraq. “You can think about them as a technology and a way to resist the removal of history,” says Allahyari. \u003ccite>(Photo: Adizah Eghan/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most recent additions to \u003cem>Material Speculation\u003c/em> delve deep into ISIS’ social and cultural destruction of female forms in life and physically as sculptures.\u003c/p>\n\u003cp>“There’s this whole thing about violence against women which is part of what’s happening with ISIS,” Allahyari says. “But it’s actually not talked about as much as other things.”\u003c/p>\n\u003cp>Allahyari hopes to see her work displayed at the Mosul Museum in someday. The building is still standing but Baghdad, where it resides, is \u003ca href=\"http://www.kqed.org/a/forum/R201512290900\" target=\"_blank\" rel=\"noopener\">ISIS territory\u003c/a>, so no one can go in or out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Allahyari’s pieces will be featured in the show Archive Fever: Future Imaginings of Things Past at \u003ca href=\"http://www.b4bel4b.com/\" target=\"_blank\" rel=\"noopener\">B4BEL4B\u003c/a> art gallery in Oakland starting January 16th until the end of February.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At software company \u003ca href=\"http://ww2.kqed.org/futureofyou/2015/06/05/at-autodesk-makers-explore-how-3-d-printing-is-transforming-medicine/\" target=\"_blank\" rel=\"noopener\">Autodesk\u003c/a> at San Francisco’s Pier 9, the 3D printers are humming. Here, people print all kinds of things, like biofabrics, prosthetic limbs, toys, jewelry and gadgets.\u003c/p>\n\u003cfigure id=\"attachment_11228541\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg\" alt=\"Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-960x720.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \u003ccite>(Photo: Adizah Eghan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But resident artist \u003ca href=\"http://www.morehshin.com/\" target=\"_blank\" rel=\"noopener\">Morehshin Allahyari\u003c/a> is using the technology to re-create a stone statue that’s over 2,000 years old.\u003c/p>\n\u003cp>It’s a chilly December afternoon, but it’s warm inside the 3D printing room. Allahyari stands at the waist-high printer in a black dress, purple tights and combat boots. Her face is framed by her short hair.\u003c/p>\n\u003cp>The printer’s UV light goes back and forth. Each movement delivers a single layer of liquid resin that quickly hardens from the UV rays. A translucent statue begins to take shape.\u003c/p>\n\u003cp>The statue is a miniature model of a life-size female figure that stood outside of the Mosul Museum in Iraq. This was before ISIS destroyed the statue along with other Hatrene sculptures and Assyrian artifacts using sledgehammers and power tools last February.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SS9yLgJ4sqo'\n title='//www.youtube.com/embed/SS9yLgJ4sqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In her project \u003cem>Material Speculation,\u003c/em> Allahyari is 3D modeling and printing some of those statues and artifacts that \u003ca href=\"http://news.nationalgeographic.com/2015/09/150901-isis-destruction-looting-ancient-sites-iraq-syria-archaeology/\" target=\"_blank\" rel=\"noopener\">ISIS destroyed.\u003c/a>\u003c/p>\n\u003cp>Over the past couple of years ISIS has looted and damaged over \u003ca href=\"http://www.aljazeera.com/news/2015/03/full-story-isil-takeover-mosul-museum-150309053022129.html\" target=\"_blank\" rel=\"noopener\">42 historical and archaeological sites\u003c/a>, some dating back as early as 7th century BCE. They’ve also burned books in Mosul libraries and destroyed artifacts at the archaeological site at Nimrud. The terrorist group claims these statues and figures promote idolatry. Not to mention, they are also seeking attention from the pieces they destroy and profit from the goods that they loot from these sites.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/241991695″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/241991695″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“[ISIS is] trying to remove this rich history in order to start afresh and also to remove any kind of interethnic interactions,” Pamela Karimi, professor of Middle Eastern art at the University of Massachusetts, Dartmouth, says.\u003c/p>\n\u003cfigure id=\"attachment_11228542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228542\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg\" alt=\"The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu-.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says her work is about re-establishing that connection to parts of the Middle East that have been separated by conflict.\u003c/p>\n\u003cp>“I’m originally from Iran. these artifacts are from Iraq. But these are all older, from 2,500 – 3,000 years ago, and this is when history was shared between all these countries,” says Allahyari.\u003c/p>\n\u003cp>Karimi says terrorists have destroyed historical artifacts in many parts of the world. But the destruction of sites in the Middle East is particularly significant.\u003c/p>\n\u003cp>“So the Middle East is where the world’s first cities emerged and the world’s first governmental entities were first introduced,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11228424\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228424\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg\" alt=\"King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says there was little information to draw from when she first set out to do her project. Wanting to address this issue for future generations, she turns her own works in tiny time capsules. She’s inserted a thumb drive loaded with PDF files, maps and other research relating to the destroyed artifacts inside each one.\u003c/p>\n\u003cp>“This is basically the way to go in the future: to not only create a nostalgic art work that reminds us what’s happening, but something that provides solutions for how you preserve the memory for future generations,” Karimi, a supporter of Allahyari, says.\u003c/p>\n\u003cp>\u003cstrong>How It’s Done\u003c/strong>\u003c/p>\n\u003cp>To make these to-scale statues Allahyari had to find images online and use them as source material to 3D model the artifacts. For most 3D models, people take hundreds of pictures of one item. Allahyari doesn’t have that luxury because the items she is modeling no longer exist, so she uses Flickr.\u003c/p>\n\u003cp>After creating a 3D model, she runs it through different software programs to fix meshes and errors. Then she does a test print to make sure everything looks good before printing the final model.\u003c/p>\n\u003cfigure id=\"attachment_11228654\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11228654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg\" alt='A model of a female figure that stood outside of the Mosul Museum in Iraq. \"You can think about them as a technology and a way to resist the removal of history,\" says Allahyari.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A model of a female figure that stood outside of the Mosul Museum in Iraq. “You can think about them as a technology and a way to resist the removal of history,” says Allahyari. \u003ccite>(Photo: Adizah Eghan/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most recent additions to \u003cem>Material Speculation\u003c/em> delve deep into ISIS’ social and cultural destruction of female forms in life and physically as sculptures.\u003c/p>\n\u003cp>“There’s this whole thing about violence against women which is part of what’s happening with ISIS,” Allahyari says. “But it’s actually not talked about as much as other things.”\u003c/p>\n\u003cp>Allahyari hopes to see her work displayed at the Mosul Museum in someday. The building is still standing but Baghdad, where it resides, is \u003ca href=\"http://www.kqed.org/a/forum/R201512290900\" target=\"_blank\" rel=\"noopener\">ISIS territory\u003c/a>, so no one can go in or out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Allahyari’s pieces will be featured in the show Archive Fever: Future Imaginings of Things Past at \u003ca href=\"http://www.b4bel4b.com/\" target=\"_blank\" rel=\"noopener\">B4BEL4B\u003c/a> art gallery in Oakland starting January 16th until the end of February.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Remember a few months ago, when presidential hopeful Ben Carson's campaign tapped a young Republican rapper named Aspiring Mogul to write \u003ca href=\"http://ww2.kqed.org/pop/2015/11/05/back-away-from-the-beatbox-ben-carsons-rap-and-other-cringeworthy-pitfalls-of-political-pandering/\" target=\"_blank\">a Ben Carson-themed rap\u003c/a>? (That sick flute riff! How could you forget?)\u003c/p>\n\u003cp>Never one to be outdone, it seems Donald Trump also felt he needed a snappy, \"see-I'm-hip-with-the-youngs\" kind of theme song, and this, ladies and gentlemen -- this unholy stew of innocent children, pageant outfits and propaganda -- is the result.\u003c/p>\n\u003cp>Give yourself some time for this one. Take a few deep breaths.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vPRfP_TEQ-g\u003c/p>\n\u003cp>\u003cstrong>Here's what we know:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>These are three members of \"\u003ca href=\"https://www.facebook.com/USAfreedomKids/\" target=\"_blank\">The USA Freedom Kids\u003c/a>.\"\u003c/li>\n\u003cli>They performed this ditty yesterday, Jan. 13, at a Trump rally in Pensacola, Florida.\u003c/li>\n\u003cli>They are lip-syncing (or, as my esteemed colleague \u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\" target=\"_blank\">Emmanuel\u003c/a> just put it, Ashlee Simpson-ing) the \u003cem>hell\u003c/em> out of this thing\u003c/li>\n\u003cli>\"Deal from strength or get crushed every time\" is a lyric the writer of this song, 53-year-old businessman Jeff Popick, thought would be a cool thing to hear coming out of the mouths of young children\u003c/li>\n\u003cli>One of those children is his own 8-year-old daughter\u003c/li>\n\u003cli>Judging by the crowd behind the kids, audience reactions ranged from \"this is cute\" to \"not feelin' it\" to \"I'm just going to take this opportunity to send a lot of text messages\" (good work, dude in the front left).\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"http://time.com/4181383/donald-trump-usa-freedom-kids/\" target=\"_blank\">TIME has an interview with the brains behind the catchy little tune\u003c/a>, in which one can learn that the elder Popick, a huge Trump supporter, originally wrote the song \"in honor of Lt. General George Patton, who led the U.S. Army when it liberated Italy in World War II, but tweaked it to focus on Trump.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Popick, who seems to be a sort of self-styled, freedom-loving \u003ca href=\"http://www.hollywoodreporter.com/news/backstreet-boys-lou-pearlmans-prison-672724\" target=\"_blank\">Lou Perlman\u003c/a>, held tryouts in order to put the group together about six months ago. Since that time, the USA Freedom Kids have performed the National Anthem at Miami Dolphins and Marlins games, but this song about destroying enemies of freedom has understandably garnered the girls the most attention thus far.\u003c/p>\n\u003cp>Now, it's tempting to suggest Popick deserves a visit from Child Protective Services, but you know what? This country\u003cem> is\u003c/em> about freedom. Freedom to write terrible songs. Freedom to purchase terrible outfits. Freedom to exploit your own children, who are far too young to form educated political views of their own, not to mention comprehend the ramifications of stumping for a racist billionaire \u003ca href=\"http://www.onthemedia.org/story/so-youve-got-demagogue/\" target=\"_blank\">demagogue\u003c/a>, thereby deftly showing the world you believe five minutes of viral fame and maybe a few hundred dollars are \u003cem>definitely \u003c/em>worth the fact that you're screwing said children up royally for the rest of their lives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But hey, maybe we're just being cynical here! Sometimes former child stars who hit the bigtime following band tryouts in Florida \u003ca href=\"http://www.eonline.com/news/731132/former-backstreet-boy-nick-carter-arrested-in-florida-bar\" target=\"_blank\">turn out just fine\u003c/a>.\u003c/p>\n\n",
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"excerpt": "...if you want to feel really scared and sad for America, that is! Sorry. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember a few months ago, when presidential hopeful Ben Carson's campaign tapped a young Republican rapper named Aspiring Mogul to write \u003ca href=\"http://ww2.kqed.org/pop/2015/11/05/back-away-from-the-beatbox-ben-carsons-rap-and-other-cringeworthy-pitfalls-of-political-pandering/\" target=\"_blank\">a Ben Carson-themed rap\u003c/a>? (That sick flute riff! How could you forget?)\u003c/p>\n\u003cp>Never one to be outdone, it seems Donald Trump also felt he needed a snappy, \"see-I'm-hip-with-the-youngs\" kind of theme song, and this, ladies and gentlemen -- this unholy stew of innocent children, pageant outfits and propaganda -- is the result.\u003c/p>\n\u003cp>Give yourself some time for this one. Take a few deep breaths.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vPRfP_TEQ-g'\n title='//www.youtube.com/embed/vPRfP_TEQ-g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Here's what we know:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>These are three members of \"\u003ca href=\"https://www.facebook.com/USAfreedomKids/\" target=\"_blank\">The USA Freedom Kids\u003c/a>.\"\u003c/li>\n\u003cli>They performed this ditty yesterday, Jan. 13, at a Trump rally in Pensacola, Florida.\u003c/li>\n\u003cli>They are lip-syncing (or, as my esteemed colleague \u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\" target=\"_blank\">Emmanuel\u003c/a> just put it, Ashlee Simpson-ing) the \u003cem>hell\u003c/em> out of this thing\u003c/li>\n\u003cli>\"Deal from strength or get crushed every time\" is a lyric the writer of this song, 53-year-old businessman Jeff Popick, thought would be a cool thing to hear coming out of the mouths of young children\u003c/li>\n\u003cli>One of those children is his own 8-year-old daughter\u003c/li>\n\u003cli>Judging by the crowd behind the kids, audience reactions ranged from \"this is cute\" to \"not feelin' it\" to \"I'm just going to take this opportunity to send a lot of text messages\" (good work, dude in the front left).\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"http://time.com/4181383/donald-trump-usa-freedom-kids/\" target=\"_blank\">TIME has an interview with the brains behind the catchy little tune\u003c/a>, in which one can learn that the elder Popick, a huge Trump supporter, originally wrote the song \"in honor of Lt. General George Patton, who led the U.S. Army when it liberated Italy in World War II, but tweaked it to focus on Trump.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Popick, who seems to be a sort of self-styled, freedom-loving \u003ca href=\"http://www.hollywoodreporter.com/news/backstreet-boys-lou-pearlmans-prison-672724\" target=\"_blank\">Lou Perlman\u003c/a>, held tryouts in order to put the group together about six months ago. Since that time, the USA Freedom Kids have performed the National Anthem at Miami Dolphins and Marlins games, but this song about destroying enemies of freedom has understandably garnered the girls the most attention thus far.\u003c/p>\n\u003cp>Now, it's tempting to suggest Popick deserves a visit from Child Protective Services, but you know what? This country\u003cem> is\u003c/em> about freedom. Freedom to write terrible songs. Freedom to purchase terrible outfits. Freedom to exploit your own children, who are far too young to form educated political views of their own, not to mention comprehend the ramifications of stumping for a racist billionaire \u003ca href=\"http://www.onthemedia.org/story/so-youve-got-demagogue/\" target=\"_blank\">demagogue\u003c/a>, thereby deftly showing the world you believe five minutes of viral fame and maybe a few hundred dollars are \u003cem>definitely \u003c/em>worth the fact that you're screwing said children up royally for the rest of their lives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But hey, maybe we're just being cynical here! Sometimes former child stars who hit the bigtime following band tryouts in Florida \u003ca href=\"http://www.eonline.com/news/731132/former-backstreet-boy-nick-carter-arrested-in-florida-bar\" target=\"_blank\">turn out just fine\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>British actor Alan Rickman, a veteran of dozens of films, has died at age 69. Recently, Rickman was most well-known for portraying the complicated villain Severus Snape in the films based on J.K. Rowling’s Harry Potter books.\u003c/p>\n\u003cp>“Rickman had been suffering from cancer,” \u003ca href=\"http://www.theguardian.com/film/2016/jan/14/alan-rickman-giant-of-british-film-and-theatre-dies-at-69\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> reports.\u003c/p>\n\u003cp>Rickman appeared in many blockbuster films during his prolific career, from 1988’s \u003cem>Die Hard\u003c/em> with Bruce Willis to 2003’s \u003cem>Love Actually\u003c/em> and the Harry Potter films.\u003c/p>\n\u003cp>Blessed with a rich and deep voice, the actor brought intelligence and humanity to a wide spectrum of roles, judiciously deploying what seemed to be a bottomless supply of frowns and smirks that endeared him to his fans.\u003c/p>\n\u003cp>While his voice became something of a trademark, Rickman once said that he endured much criticism for it in drama school. One voice teacher, as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=17424143\" target=\"_blank\" rel=\"noopener\">he recalled in 2007\u003c/a>, told Rickman that he sounded as if his voice was “coming out of the back end of a drain pipe.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Explaining his own opinion of his voice, Rickman said, “Well, it’s what I’m stuck with, so it’s not like I can go and get another one. And also, I don’t hear what anybody else hears. So it’s always a bit of a shock, you know. And it never goes away.”\u003c/p>\n\u003cp>While he might be famous for playing villains, Rickman once told NPR that those roles are “a very small part of whatever I’ve done. It’s like two or three parts, and they just happened to have big publicity budgets.”\u003c/p>\n\u003cp>Rickman also directed films and theatrical works, and he acted in plays from Shakespeare’s Antony and Cleopatra to Noel Coward’s Private Lives.\u003c/p>\n\u003cp>A former member of the Royal Shakespeare Company, Rickman \u003ca href=\"http://www.npr.org/2011/11/29/142903636/alan-rickman-from-shakespeare-to-snape\" target=\"_blank\" rel=\"noopener\">spoke to NPR in 2011 \u003c/a>about his stage work in the U.S.:\u003c/p>\n\u003cblockquote>\u003cp>\n“I love working in New York theater. … It is very demanding, but it’s good to be in a city where you feel that theater is actually part of the life of the city. You know, London is so sprawling, and you can sometimes forget that anybody else is on a stage anywhere else. But here, it’s, you know, your friends and neighbors.”\n\u003c/p>\u003c/blockquote>\n\u003cp>Three films from the 1990s help describe Rickman’s range.\u003c/p>\n\u003cp>In 1991, he turned in a memorable performance as the Sheriff of Nottingham in Robin Hood: Prince of Thieves — a film whose legacy these days isn’t helped by Kevin Costner’s hair, but which was the second-most popular film in theaters that year.\u003c/p>\n\u003cp>In 1995, he appeared in the director Ang Lee’s Sense and Sensibility, playing Colonel Brandon opposite Kate Winslet’s Marianne Dashwood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in 1999, he showed his willingness to camp it up onscreen, when he starred with Sigourney Weaver and Tim Allen in Galaxy Quest, a film that might best be described as a sci-fi romp.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actor+Alan+Rickman+Has+Died%3B+Portrayed+Snape+In+Harry+Potter+Films&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>British actor Alan Rickman, a veteran of dozens of films, has died at age 69. Recently, Rickman was most well-known for portraying the complicated villain Severus Snape in the films based on J.K. Rowling’s Harry Potter books.\u003c/p>\n\u003cp>“Rickman had been suffering from cancer,” \u003ca href=\"http://www.theguardian.com/film/2016/jan/14/alan-rickman-giant-of-british-film-and-theatre-dies-at-69\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> reports.\u003c/p>\n\u003cp>Rickman appeared in many blockbuster films during his prolific career, from 1988’s \u003cem>Die Hard\u003c/em> with Bruce Willis to 2003’s \u003cem>Love Actually\u003c/em> and the Harry Potter films.\u003c/p>\n\u003cp>Blessed with a rich and deep voice, the actor brought intelligence and humanity to a wide spectrum of roles, judiciously deploying what seemed to be a bottomless supply of frowns and smirks that endeared him to his fans.\u003c/p>\n\u003cp>While his voice became something of a trademark, Rickman once said that he endured much criticism for it in drama school. One voice teacher, as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=17424143\" target=\"_blank\" rel=\"noopener\">he recalled in 2007\u003c/a>, told Rickman that he sounded as if his voice was “coming out of the back end of a drain pipe.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Explaining his own opinion of his voice, Rickman said, “Well, it’s what I’m stuck with, so it’s not like I can go and get another one. And also, I don’t hear what anybody else hears. So it’s always a bit of a shock, you know. And it never goes away.”\u003c/p>\n\u003cp>While he might be famous for playing villains, Rickman once told NPR that those roles are “a very small part of whatever I’ve done. It’s like two or three parts, and they just happened to have big publicity budgets.”\u003c/p>\n\u003cp>Rickman also directed films and theatrical works, and he acted in plays from Shakespeare’s Antony and Cleopatra to Noel Coward’s Private Lives.\u003c/p>\n\u003cp>A former member of the Royal Shakespeare Company, Rickman \u003ca href=\"http://www.npr.org/2011/11/29/142903636/alan-rickman-from-shakespeare-to-snape\" target=\"_blank\" rel=\"noopener\">spoke to NPR in 2011 \u003c/a>about his stage work in the U.S.:\u003c/p>\n\u003cblockquote>\u003cp>\n“I love working in New York theater. … It is very demanding, but it’s good to be in a city where you feel that theater is actually part of the life of the city. You know, London is so sprawling, and you can sometimes forget that anybody else is on a stage anywhere else. But here, it’s, you know, your friends and neighbors.”\n\u003c/p>\u003c/blockquote>\n\u003cp>Three films from the 1990s help describe Rickman’s range.\u003c/p>\n\u003cp>In 1991, he turned in a memorable performance as the Sheriff of Nottingham in Robin Hood: Prince of Thieves — a film whose legacy these days isn’t helped by Kevin Costner’s hair, but which was the second-most popular film in theaters that year.\u003c/p>\n\u003cp>In 1995, he appeared in the director Ang Lee’s Sense and Sensibility, playing Colonel Brandon opposite Kate Winslet’s Marianne Dashwood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in 1999, he showed his willingness to camp it up onscreen, when he starred with Sigourney Weaver and Tim Allen in Galaxy Quest, a film that might best be described as a sci-fi romp.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actor+Alan+Rickman+Has+Died%3B+Portrayed+Snape+In+Harry+Potter+Films&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Fifty Shades of Grey\u003c/em> is all tied up with \u003cem>Pixels\u003c/em>, \u003cem>Jupiter Ascending\u003c/em> and \u003cem>Paul Blart Mall Cop 2\u003c/em> for the most nominations at this year’s Golden Raspberry Awards celebrating the worst in cinema.\u003c/p>\n\u003cp>The films led the Razzies lineup Wednesday with six nods each, including worst picture and worst actor for Jamie Dornan in the sexy thriller \u003cem>Fifty Shades of Grey\u003c/em>, Kevin James in the comedy sequel \u003cem>Paul Blart Mall Cop 2\u003c/em>, Channing Tatum in the sci-fi film \u003cem>Jupiter Ascending\u003c/em> and Adam Sandler in the video game mash-up \u003cem>Pixels\u003c/em> and fantasy-comedy \u003cem>The Cobbler\u003c/em>.\u003c/p>\n\u003cp>The other worst picture nominee is the superhero flop \u003cem>Fantastic Four\u003c/em>, which is also up for worst remake, screen combo, director for Josh Trank and screenplay for Simon Kinberg, Jeremy Slater and Trank.\u003c/p>\n\u003cp>The announcement of the Razzies, which launched in 1980 as a spoof of Hollywood’s awards season, comes ahead of Thursday’s Oscar nominations.\u003c/p>\n\u003cp>The “winners” for the 36th annual Razzies will be announced Feb. 27, the night before the 88th annual Academy Awards. They will be selected by 900 voting members from 47 states in the United States and 21 foreign countries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While far less star-studded than other award shows, past recipients such as Halle Berry and Sandra Bullock, have actually shown up in person to claim their gold spray-painted prizes.\u003c/p>\n\u003cp>\u003cstrong>The complete list 36th annual Razzie nominations:\u003c/strong>\u003c/p>\n\u003cp>— Worst picture: \u003cem>Fantastic Four\u003c/em>, \u003cem>Fifty Shades of Grey\u003c/em>, \u003cem>Jupiter Ascending\u003c/em>, \u003cem>Paul Blart Mall Cop 2\u003c/em>, \u003cem>Pixels\u003c/em>.\u003c/p>\n\u003cp>— Worst actor: Johnny Depp, \u003cem>Mortdecai\u003c/em>; Jamie Dornan, \u003cem>Fifty Shades of Grey\u003c/em>; Kevin James, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Adam Sandler, \u003cem>The Cobbler\u003c/em> and \u003cem>Pixels\u003c/em>; Channing Tatum, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst actress: Katherine Heigl, \u003cem>Home Sweet Hell\u003c/em>; Dakota Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Mila Kunis, \u003cem>Jupiter Ascending\u003c/em>; Jennifer Lopez, \u003cem>The Boy Next Door\u003c/em>; Gwyneth Paltrow, \u003cem>Mortdecai\u003c/em>.\u003c/p>\n\u003cp>— Worst supporting actor: Chevy Chase, \u003cem>Hot Tub Time Machine 2\u003c/em> and \u003cem>Vacation\u003c/em>; Josh Gad, \u003cem>Pixels\u003c/em> and \u003cem>The Wedding Ringer\u003c/em>; Kevin James, \u003cem>Pixels\u003c/em>; Jason Lee, \u003cem>Alvin and the Chipmunks: Road Chip\u003c/em>; Eddie Redmayne, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst supporting actress: Kaley Cuoco-Sweeting, \u003cem>Alvin and the Chipmunks: Road Chip\u003c/em> and \u003cem>The Wedding Ringer\u003c/em>; Rooney Mara, \u003cem>Pan\u003c/em>; Michelle Monaghan, \u003cem>Pixels\u003c/em>; Julianne Moore, \u003cem>Seventh Son\u003c/em>; Amanda Seyfried, \u003cem>Love the Coopers\u003c/em> and \u003cem>Pan\u003c/em>.\u003c/p>\n\u003cp>— Worst remake or sequel: \u003cem>Alvin and The Chipmunks: The Road Chip\u003c/em>; \u003cem>Fantastic Four\u003c/em>; \u003cem>Hot Tub Time Machine 2\u003c/em>; \u003cem>Human Centipede 3\u003c/em>; \u003cem>Paul Blart Mall Cop 2\u003c/em>.\u003c/p>\n\u003cp>— Worst screen combo: Miles Teller, Michael B. Jordan, Kate Mara and Jamie Bell, \u003cem>Fantastic Four\u003c/em>; Johnny Depp and his glued-on mustache, \u003cem>Mortdecai\u003c/em>; Jamie Dornan and Dakota Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Kevin James and either his Segway or glued-on mustache, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Adam Sandler and any pair of shoes, \u003cem>The Cobbler\u003c/em>.\u003c/p>\n\u003cp>— Worst director: Andy Fickman, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Tom Six, \u003cem>Human Centipede 3\u003c/em>; Sam Taylor-Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Josh Trank, \u003cem>Fantastic Four\u003c/em>; Andy and Lana Wachowski, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst screenplay: Simon Kinberg, Jeremy Slater and Josh Trank, \u003cem>Fantastic Four\u003c/em>; Kelly Marcel, \u003cem>Fifty Shades of Grey\u003c/em>; Andy and Lana Wachowski, \u003cem>Jupiter Ascending\u003c/em>; Kevin James and Nick Bakay, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Tim Herlihy and Timothy Dowling, \u003cem>Pixels\u003c/em>.\u003c/p>\n\u003cp>— Razzies redeemer award: Elizabeth Banks, M. Night Shyamalan, Will Smith and Sylvester Stallone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Fifty Shades of Grey\u003c/em> is all tied up with \u003cem>Pixels\u003c/em>, \u003cem>Jupiter Ascending\u003c/em> and \u003cem>Paul Blart Mall Cop 2\u003c/em> for the most nominations at this year’s Golden Raspberry Awards celebrating the worst in cinema.\u003c/p>\n\u003cp>The films led the Razzies lineup Wednesday with six nods each, including worst picture and worst actor for Jamie Dornan in the sexy thriller \u003cem>Fifty Shades of Grey\u003c/em>, Kevin James in the comedy sequel \u003cem>Paul Blart Mall Cop 2\u003c/em>, Channing Tatum in the sci-fi film \u003cem>Jupiter Ascending\u003c/em> and Adam Sandler in the video game mash-up \u003cem>Pixels\u003c/em> and fantasy-comedy \u003cem>The Cobbler\u003c/em>.\u003c/p>\n\u003cp>The other worst picture nominee is the superhero flop \u003cem>Fantastic Four\u003c/em>, which is also up for worst remake, screen combo, director for Josh Trank and screenplay for Simon Kinberg, Jeremy Slater and Trank.\u003c/p>\n\u003cp>The announcement of the Razzies, which launched in 1980 as a spoof of Hollywood’s awards season, comes ahead of Thursday’s Oscar nominations.\u003c/p>\n\u003cp>The “winners” for the 36th annual Razzies will be announced Feb. 27, the night before the 88th annual Academy Awards. They will be selected by 900 voting members from 47 states in the United States and 21 foreign countries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While far less star-studded than other award shows, past recipients such as Halle Berry and Sandra Bullock, have actually shown up in person to claim their gold spray-painted prizes.\u003c/p>\n\u003cp>\u003cstrong>The complete list 36th annual Razzie nominations:\u003c/strong>\u003c/p>\n\u003cp>— Worst picture: \u003cem>Fantastic Four\u003c/em>, \u003cem>Fifty Shades of Grey\u003c/em>, \u003cem>Jupiter Ascending\u003c/em>, \u003cem>Paul Blart Mall Cop 2\u003c/em>, \u003cem>Pixels\u003c/em>.\u003c/p>\n\u003cp>— Worst actor: Johnny Depp, \u003cem>Mortdecai\u003c/em>; Jamie Dornan, \u003cem>Fifty Shades of Grey\u003c/em>; Kevin James, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Adam Sandler, \u003cem>The Cobbler\u003c/em> and \u003cem>Pixels\u003c/em>; Channing Tatum, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst actress: Katherine Heigl, \u003cem>Home Sweet Hell\u003c/em>; Dakota Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Mila Kunis, \u003cem>Jupiter Ascending\u003c/em>; Jennifer Lopez, \u003cem>The Boy Next Door\u003c/em>; Gwyneth Paltrow, \u003cem>Mortdecai\u003c/em>.\u003c/p>\n\u003cp>— Worst supporting actor: Chevy Chase, \u003cem>Hot Tub Time Machine 2\u003c/em> and \u003cem>Vacation\u003c/em>; Josh Gad, \u003cem>Pixels\u003c/em> and \u003cem>The Wedding Ringer\u003c/em>; Kevin James, \u003cem>Pixels\u003c/em>; Jason Lee, \u003cem>Alvin and the Chipmunks: Road Chip\u003c/em>; Eddie Redmayne, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst supporting actress: Kaley Cuoco-Sweeting, \u003cem>Alvin and the Chipmunks: Road Chip\u003c/em> and \u003cem>The Wedding Ringer\u003c/em>; Rooney Mara, \u003cem>Pan\u003c/em>; Michelle Monaghan, \u003cem>Pixels\u003c/em>; Julianne Moore, \u003cem>Seventh Son\u003c/em>; Amanda Seyfried, \u003cem>Love the Coopers\u003c/em> and \u003cem>Pan\u003c/em>.\u003c/p>\n\u003cp>— Worst remake or sequel: \u003cem>Alvin and The Chipmunks: The Road Chip\u003c/em>; \u003cem>Fantastic Four\u003c/em>; \u003cem>Hot Tub Time Machine 2\u003c/em>; \u003cem>Human Centipede 3\u003c/em>; \u003cem>Paul Blart Mall Cop 2\u003c/em>.\u003c/p>\n\u003cp>— Worst screen combo: Miles Teller, Michael B. Jordan, Kate Mara and Jamie Bell, \u003cem>Fantastic Four\u003c/em>; Johnny Depp and his glued-on mustache, \u003cem>Mortdecai\u003c/em>; Jamie Dornan and Dakota Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Kevin James and either his Segway or glued-on mustache, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Adam Sandler and any pair of shoes, \u003cem>The Cobbler\u003c/em>.\u003c/p>\n\u003cp>— Worst director: Andy Fickman, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Tom Six, \u003cem>Human Centipede 3\u003c/em>; Sam Taylor-Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Josh Trank, \u003cem>Fantastic Four\u003c/em>; Andy and Lana Wachowski, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst screenplay: Simon Kinberg, Jeremy Slater and Josh Trank, \u003cem>Fantastic Four\u003c/em>; Kelly Marcel, \u003cem>Fifty Shades of Grey\u003c/em>; Andy and Lana Wachowski, \u003cem>Jupiter Ascending\u003c/em>; Kevin James and Nick Bakay, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Tim Herlihy and Timothy Dowling, \u003cem>Pixels\u003c/em>.\u003c/p>\n\u003cp>— Razzies redeemer award: Elizabeth Banks, M. Night Shyamalan, Will Smith and Sylvester Stallone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Arthur Gardner, a.k.a. Dopey Fresh, spends many mornings trying to rouse BART commuters out of an iPhone-induced stupor.\u003c/p>\n\u003cp>“Good morning, ladies and gentlemen!” he calls out to the crowd on board the San Francisco-bound train. “We got a wonderful dance show for you guys.”\u003c/p>\n\u003cp>Dopey, as his friends call him for short, flips on some music and starts gliding across the train. Another dancer, Intricate, takes over, contorting his arms into impossible twists. Then comes Krow. He folds his right foot behind his neck, grabs the handle bars overhead, and flips.\u003c/p>\n\u003cfigure id=\"attachment_11241357\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11241357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1180x800.jpg\" alt='\"Krow\" the dancer shows his moves on a BART train' width=\"640\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1920x1302.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-960x651.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Krow” the dancer shows his moves on a BART train \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ohhhh, ouch,” says Dopey, making faces at the train passengers, who are now awake and smiling. “Please do not try this at home!”\u003c/p>\n\u003cp>When dancer and choreographer My-Linh Le saw these turf dancing moves on the train, she noticed echoes of ballet. Le has studied both dance forms, and she says the similarities between the street dance developed in Oakland and the well-established classical form amaze her — the gracefulness, the technicality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Le started talking to the turfers from Bart about a collaboration. She wanted to take them off the train and put them on stage, with ballet dancers she recruited from the Alonzo King Lines School, the educational wing of one of the Bay Area’s most prominent classical dance organizations.\u003c/p>\n\u003cp>“If these dancers from the conservatory world of ballet could somehow have so much movement-wise in common with these other guys who have never really stepped foot in conservatory or a studio, then I think that says a lot about our human nature,” says Le.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/241652769″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Other street artists have explored the similarities with ballet. The Oakland street dance crew, the Turffeinz, paired up with the Oakland Ballet in 2014. Los Angeles-based street dancer Lil’ Buck created a \u003ca href=\"https://www.youtube.com/watch?v=JZumgHLSW10\">widely-acclaimed interpretation\u003c/a> of “The Dying Swan,” accompanied by Yo-Yo Ma on solo cello, which he eventually performed at the Vail International Dance Festival.\u003c/p>\n\u003cp>Le scored a spot for her group to perform in this year’s \u003ca href=\"http://www.dancemission.com/programs/down_and_dirty.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. – Dance in Revolt(ing) Times\u003c/a> festival, a two-week event dedicated to political dance, at Dance Mission Theater in San Francisco.\u003c/p>\n\u003cp>But the creative process turned out to be more difficult than anyone anticipated.\u003c/p>\n\u003cfigure id=\"attachment_11241462\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11241462\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-800x499.jpg\" alt=\"Turf dancers Intricate (in white) and No Name (in green) practice in the studio\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-768x479.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Turf dancers Intricate (in white) and No Name (in green) practice in the studio \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Le’s first obstacle: she had a hard time getting the turfers to show up for rehearsal. Le didn’t have money to pay them. The turfers said that the hours they would spend rehearsing for free, they could be making money dancing on BART.\u003c/p>\n\u003cp>“We’re just good kids with good hearts, doing this for the love of dance,” Dopey tells his audiences on the train. “But they say the best nation is..?” “A \u003cem>do\u003c/em>-nation!” the dancers answer back.\u003c/p>\n\u003cp>Most days, the turfers take home between $100 and $200 each. That’s a lot of money for these guys to turn down.\u003c/p>\n\u003cp>“I work at Jamba Juice and I go to community college at Laney,” says Hector Alexander Ascencio, a.k.a. Intricate. “It’s kind of a struggle right now, I’m not even gonna to lie. A lot of turfers, lot of dancers out here, come from the struggle. Bay Area’s known for a lot of struggling.”\u003c/p>\n\u003cp>Le tried looking for grants. But to her, the world of institutional fundraising seemed reserved for established choreographers in established dance forms. She saw big ballet companies getting money, but she says there wasn’t much for young artists trying to break into the dance scene.\u003c/p>\n\u003cp>“It’s like a club,” Le says. “To get admission to this club you have to prove yourself as an artist, and to prove yourself as an artist, you need money. It’s just oriented towards anybody who already has money or support.”\u003c/p>\n\u003cp>So Le started a crowdfunding campaign to get her project off the ground and managed to achieve her goal of $10,000. She used the funds primarily to pay for the dancers’ time.\u003c/p>\n\u003cp>But the money turned out to be just the first hurdle. Once the ballerinas and turfers got into the studio together, cultures clashed.\u003c/p>\n\u003cp>“Even the first rehearsal was very eye opening,” says ballet dancer Tatiana Barber, who was surprised by the turfers’ freestyle warm up. “In ballet class, you have strict technique. You start with \u003cem>plies\u003c/em> and \u003cem>detendus\u003c/em>,” she says, referencing the series of knee-bends and stretches ballet dancers do at the barre. “It’s always the same.”\u003c/p>\n\u003cfigure id=\"attachment_11241464\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11241464\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-800x470.jpg\" alt=\"Dopey Fresh celebrates after pulling off a big dance move on a BART train\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-768x451.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dopey Fresh celebrates after pulling off a big dance move on a BART train \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the ballet dancers and turfers tried to choreograph steps together, things quickly got complicated.\u003c/p>\n\u003cp>“Wooo! The language,” says turf dancer Algerion Bryant, a.k.a. Krow. “The way they set their stuff up and the way we set our stuff up is completely different.”\u003c/p>\n\u003cp>“For ballet, vocabulary is very structured and we have very set timing and beats and counting,” says ballerina Christine Beggs, “For turfers, they don’t really have set names for things. They really actually can’t articulate a lot of it very well, because it’s like a feeling or something, you just gotta feel it. I’m like, I look ridiculous.”\u003c/p>\n\u003cp>Krow compares the differences to painting.\u003c/p>\n\u003cp>“See somebody color inside the lines, you got this person did the same thing, but they color outside the lines,” Krow says. “You have the one with rules and boundaries and the one without rules and boundaries.”\u003c/p>\n\u003cp>Rehearsals became chaotic as a result of the creative differences. So Le had to split the two camps up for a while. The ballet dancers met on Mondays, and the turfers on Saturdays.\u003c/p>\n\u003cp>But Le says when she threw the choreography out the window and just had the dancers improv together, the results were magical.\u003c/p>\n\u003cp>“It left everyone in shock,” Le says. “They just had moments where they suddenly thought the same thing and did the same thing at the same time. And it was crazy because you know that could only happen when two people are so in tune with each other and listening so hard that they could be thinking the same thing.”\u003c/p>\n\u003cfigure id=\"attachment_11241465\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241465\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/tatiana2CROP.jpg\" alt=\"Practicing for 'D.I.R.T.'\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tatiana2CROP.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tatiana2CROP-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Practicing for the D.I.R.T. Festival \u003ccite>(Photo: Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time the festival comes around, the dancers will have a 17-minute piece — a mix of solos and ensemble dances, both improvised and choreographed, set to music from The Federation, Nina Simone, and spoken word from Kendrick Lamar.\u003c/p>\n\u003cp>In one section, Le wants to explore the concept of misunderstanding. She sat in a circle with the dancers at a recent rehearsal to explain.\u003c/p>\n\u003cp>“I wanted to use the Ugly Duckling, which I think a lot of people misinterpret as a story about transformation,” Le says. “It’s kinda funny because the Duckling didn’t suddenly transform into a swan, he was actually always a swan. So it was actually a story about misperception.”\u003c/p>\n\u003cp>It’s the same with turfing, Le says. Street dance has always been as artful as ballet.\u003c/p>\n\u003cp>“By putting turfing in a theater or on a stage where the audience has to sit there and really look at it, turfing doesn’t change,” Le says. “What happens instead is the audience’s perception changes.”\u003c/p>\n\u003cp>\u003cem>The dancers perform Jan. 30 and 31 as part of the \u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. Festival\u003c/a> at the Dance Mission Theater in San Francisco.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>UPDATE: Watch \u003ca href=\"http://ww2.kqed.org/arts/2016/03/01/how-turfers-and-ballet-dancers-found-their-groove-together/\">a video\u003c/a> about this collaboration by KQED’s Kelly Whalen, including clips from the sold-out performance.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arthur Gardner, a.k.a. Dopey Fresh, spends many mornings trying to rouse BART commuters out of an iPhone-induced stupor.\u003c/p>\n\u003cp>“Good morning, ladies and gentlemen!” he calls out to the crowd on board the San Francisco-bound train. “We got a wonderful dance show for you guys.”\u003c/p>\n\u003cp>Dopey, as his friends call him for short, flips on some music and starts gliding across the train. Another dancer, Intricate, takes over, contorting his arms into impossible twists. Then comes Krow. He folds his right foot behind his neck, grabs the handle bars overhead, and flips.\u003c/p>\n\u003cfigure id=\"attachment_11241357\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11241357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1180x800.jpg\" alt='\"Krow\" the dancer shows his moves on a BART train' width=\"640\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-1920x1302.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-5CROP-960x651.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Krow” the dancer shows his moves on a BART train \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ohhhh, ouch,” says Dopey, making faces at the train passengers, who are now awake and smiling. “Please do not try this at home!”\u003c/p>\n\u003cp>When dancer and choreographer My-Linh Le saw these turf dancing moves on the train, she noticed echoes of ballet. Le has studied both dance forms, and she says the similarities between the street dance developed in Oakland and the well-established classical form amaze her — the gracefulness, the technicality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Le started talking to the turfers from Bart about a collaboration. She wanted to take them off the train and put them on stage, with ballet dancers she recruited from the Alonzo King Lines School, the educational wing of one of the Bay Area’s most prominent classical dance organizations.\u003c/p>\n\u003cp>“If these dancers from the conservatory world of ballet could somehow have so much movement-wise in common with these other guys who have never really stepped foot in conservatory or a studio, then I think that says a lot about our human nature,” says Le.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/241652769″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/241652769″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Other street artists have explored the similarities with ballet. The Oakland street dance crew, the Turffeinz, paired up with the Oakland Ballet in 2014. Los Angeles-based street dancer Lil’ Buck created a \u003ca href=\"https://www.youtube.com/watch?v=JZumgHLSW10\">widely-acclaimed interpretation\u003c/a> of “The Dying Swan,” accompanied by Yo-Yo Ma on solo cello, which he eventually performed at the Vail International Dance Festival.\u003c/p>\n\u003cp>Le scored a spot for her group to perform in this year’s \u003ca href=\"http://www.dancemission.com/programs/down_and_dirty.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. – Dance in Revolt(ing) Times\u003c/a> festival, a two-week event dedicated to political dance, at Dance Mission Theater in San Francisco.\u003c/p>\n\u003cp>But the creative process turned out to be more difficult than anyone anticipated.\u003c/p>\n\u003cfigure id=\"attachment_11241462\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11241462\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-800x499.jpg\" alt=\"Turf dancers Intricate (in white) and No Name (in green) practice in the studio\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-6CROP-768x479.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Turf dancers Intricate (in white) and No Name (in green) practice in the studio \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Le’s first obstacle: she had a hard time getting the turfers to show up for rehearsal. Le didn’t have money to pay them. The turfers said that the hours they would spend rehearsing for free, they could be making money dancing on BART.\u003c/p>\n\u003cp>“We’re just good kids with good hearts, doing this for the love of dance,” Dopey tells his audiences on the train. “But they say the best nation is..?” “A \u003cem>do\u003c/em>-nation!” the dancers answer back.\u003c/p>\n\u003cp>Most days, the turfers take home between $100 and $200 each. That’s a lot of money for these guys to turn down.\u003c/p>\n\u003cp>“I work at Jamba Juice and I go to community college at Laney,” says Hector Alexander Ascencio, a.k.a. Intricate. “It’s kind of a struggle right now, I’m not even gonna to lie. A lot of turfers, lot of dancers out here, come from the struggle. Bay Area’s known for a lot of struggling.”\u003c/p>\n\u003cp>Le tried looking for grants. But to her, the world of institutional fundraising seemed reserved for established choreographers in established dance forms. She saw big ballet companies getting money, but she says there wasn’t much for young artists trying to break into the dance scene.\u003c/p>\n\u003cp>“It’s like a club,” Le says. “To get admission to this club you have to prove yourself as an artist, and to prove yourself as an artist, you need money. It’s just oriented towards anybody who already has money or support.”\u003c/p>\n\u003cp>So Le started a crowdfunding campaign to get her project off the ground and managed to achieve her goal of $10,000. She used the funds primarily to pay for the dancers’ time.\u003c/p>\n\u003cp>But the money turned out to be just the first hurdle. Once the ballerinas and turfers got into the studio together, cultures clashed.\u003c/p>\n\u003cp>“Even the first rehearsal was very eye opening,” says ballet dancer Tatiana Barber, who was surprised by the turfers’ freestyle warm up. “In ballet class, you have strict technique. You start with \u003cem>plies\u003c/em> and \u003cem>detendus\u003c/em>,” she says, referencing the series of knee-bends and stretches ballet dancers do at the barre. “It’s always the same.”\u003c/p>\n\u003cfigure id=\"attachment_11241464\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11241464\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-800x470.jpg\" alt=\"Dopey Fresh celebrates after pulling off a big dance move on a BART train\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BART-dance-1CROP-768x451.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dopey Fresh celebrates after pulling off a big dance move on a BART train \u003ccite>(Photo: April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the ballet dancers and turfers tried to choreograph steps together, things quickly got complicated.\u003c/p>\n\u003cp>“Wooo! The language,” says turf dancer Algerion Bryant, a.k.a. Krow. “The way they set their stuff up and the way we set our stuff up is completely different.”\u003c/p>\n\u003cp>“For ballet, vocabulary is very structured and we have very set timing and beats and counting,” says ballerina Christine Beggs, “For turfers, they don’t really have set names for things. They really actually can’t articulate a lot of it very well, because it’s like a feeling or something, you just gotta feel it. I’m like, I look ridiculous.”\u003c/p>\n\u003cp>Krow compares the differences to painting.\u003c/p>\n\u003cp>“See somebody color inside the lines, you got this person did the same thing, but they color outside the lines,” Krow says. “You have the one with rules and boundaries and the one without rules and boundaries.”\u003c/p>\n\u003cp>Rehearsals became chaotic as a result of the creative differences. So Le had to split the two camps up for a while. The ballet dancers met on Mondays, and the turfers on Saturdays.\u003c/p>\n\u003cp>But Le says when she threw the choreography out the window and just had the dancers improv together, the results were magical.\u003c/p>\n\u003cp>“It left everyone in shock,” Le says. “They just had moments where they suddenly thought the same thing and did the same thing at the same time. And it was crazy because you know that could only happen when two people are so in tune with each other and listening so hard that they could be thinking the same thing.”\u003c/p>\n\u003cfigure id=\"attachment_11241465\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241465\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/tatiana2CROP.jpg\" alt=\"Practicing for 'D.I.R.T.'\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tatiana2CROP.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/tatiana2CROP-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Practicing for the D.I.R.T. Festival \u003ccite>(Photo: Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time the festival comes around, the dancers will have a 17-minute piece — a mix of solos and ensemble dances, both improvised and choreographed, set to music from The Federation, Nina Simone, and spoken word from Kendrick Lamar.\u003c/p>\n\u003cp>In one section, Le wants to explore the concept of misunderstanding. She sat in a circle with the dancers at a recent rehearsal to explain.\u003c/p>\n\u003cp>“I wanted to use the Ugly Duckling, which I think a lot of people misinterpret as a story about transformation,” Le says. “It’s kinda funny because the Duckling didn’t suddenly transform into a swan, he was actually always a swan. So it was actually a story about misperception.”\u003c/p>\n\u003cp>It’s the same with turfing, Le says. Street dance has always been as artful as ballet.\u003c/p>\n\u003cp>“By putting turfing in a theater or on a stage where the audience has to sit there and really look at it, turfing doesn’t change,” Le says. “What happens instead is the audience’s perception changes.”\u003c/p>\n\u003cp>\u003cem>The dancers perform Jan. 30 and 31 as part of the \u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">D.I.R.T. Festival\u003c/a> at the Dance Mission Theater in San Francisco.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>UPDATE: Watch \u003ca href=\"http://ww2.kqed.org/arts/2016/03/01/how-turfers-and-ballet-dancers-found-their-groove-together/\">a video\u003c/a> about this collaboration by KQED’s Kelly Whalen, including clips from the sold-out performance.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "haight-ashbury-peter-coyote-tour",
"title": "(Almost) Everything You'll See on Peter Coyote's Haight-Ashbury Walking Tour",
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"headTitle": "(Almost) Everything You’ll See on Peter Coyote’s Haight-Ashbury Walking Tour | KQED",
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"content": "\u003cp>When I’d heard that \u003ca href=\"https://www.detour.com/\" target=\"_blank\" rel=\"noopener\">Detour\u003c/a> had created a \u003ca href=\"https://www.detour.com/san-francisco/haight-ashbury\" target=\"_blank\" rel=\"noopener\">walking tour of the Haight-Ashbury\u003c/a>, I was instantly dubious.\u003c/p>\n\u003cp>Part of it is my wariness of tech’s often unfulfilled promise to create a rich, human experience; Detour is an app that offers tours of neighborhoods, narrated by notable figures and experienced through one’s GPS-enabled smartphone. But a larger part is that, as a child of the 1980s, hearing Boomers wax rhapsodic about San Francisco’s rock revolution of the 1960s being The Most Important Thing To Happen In The World Ever has become, well, a weary thing. How many times can someone hear the same stories about Janis Joplin, the Jefferson Airplane and the Grateful Dead?\u003c/p>\n\u003cp>I’m here to tell you that my hesitation was unwarranted, and for a simple reason: Peter Coyote, the tour’s host, who provides a firsthand account of the neighborhood without the back-patting and self-serving revisionist history so prevalent in reminiscences of 1960s-era Haight-Ashbury. (In a \u003ca href=\"http://blog.detour.com/request-for-pitches/\" target=\"_blank\" rel=\"noopener\">call for pitches last year\u003c/a>, Detour asked specifically for “something even hippy-haters would love,” and while Coyote certainly has personal anecdotes galore, he sufficiently distances himself from nostalgia on the tour (which, full disclosure, is presented by KQED)). He also focuses less on the well-trampled underground rock scene, and more on the noble ideals of he and his LBJ-era peers. And, importantly, this is one of those rare times that an app truly delivers on the “human connection” promise — visitors have the sensation that Coyote is walking right alongside them.\u003c/p>\n\u003cfigure id=\"attachment_11241706\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/StreetView-800x600.jpg\" alt=\"Haight Street.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11241706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Haight Street.\u003c/figcaption>\u003c/figure>\n\u003cp>On his old stomping grounds — Coyote was an early member of the \u003ca href=\"https://en.wikipedia.org/wiki/Diggers_%28theater%29\" target=\"_blank\" rel=\"noopener\">Diggers\u003c/a> and the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Mime_Troupe\" target=\"_blank\" rel=\"noopener\">San Francisco Mime Troupe\u003c/a> — he evaluates the Haight’s accomplishments realistically and talks honestly about the seedy underbelly of the era. Coyote has fun with the app’s technical possibilities too; after an intro about \u003ca href=\"https://foursquare.com/v/susan-j-bierman-memorial-benches/526d9ae111d256e38ca64e4c\" target=\"_blank\" rel=\"noopener\">Sue Bierman\u003c/a> and her fight against the plans for a freeway running through the panhandle, where Jimi Hendrix performed and where the SF Mime Troupe began, he asks me to cross the street. “And don’t get run over,” he says while I’m in the middle of the crosswalk, “or you’ll miss how it turns out.” \u003c/p>\n\u003cp>Here’s a peek into how it turns out. I won’t give away everything.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Coyote introduces the neighborhood by talking about the artists priced out of North Beach who flocked there in the early 1960s, and of their homes overrun with visitors, “doors wide open,” welcoming to all. As I walk up Cole Street, right at this part, I notice a very different type of welcome here in 2016. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/NoTress-450x600.jpg\" alt=\"NoTress\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Around the corner, I’m brought to the former site of the Free Store, an operation located inside a garage where everything was free — “You could even get a free new identity here,” Coyote says, explaining the site’s draft-card ring for those who wished to leave their white collared shirts on the rack and disappear into the Haight. (There’s a great story here about the birth of tie-dye, too.) \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeSTore-800x600.jpg\" alt=\"FreeSTore\" width=\"800\" height=\"600\" class=\"aligncenter size-medium wp-image-11241699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The tour asks visitors to bring along a small object, and a small metal box in front of the house is the reason why. The current residents have agreed to this tiny re-creation of the free store, where visitors are given the combination to the box and trade their small item for another. It’s marvelous, really. As I was crouched down, the mailman mistook me for the owner of the house and tried to hand me the mail. Then Peter Coyote told me about the time that Fish & Game offered the Free Store a 1,500-lb. whale (they accepted).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeBox-798x600.jpg\" alt=\"FreeBox\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>Up Ashbury, after Coyote bemoans the way \u003cem>Chronicle\u003c/em> columnist Herb Caen “infantilized us” by coining the term “hippie,” I come to Janis Joplin’s old house.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/JanisHouse-451x600.jpg\" alt=\"JanisHouse\" width=\"451\" height=\"600\" class=\"aligncenter size-medium wp-image-11241708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse-451x600.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse-400x532.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse.jpg 600w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003c/p>\n\u003cp>Coyote explains he was friends with Joplin, drug partners, lovers, even; he spends as much time on her as he spends on a woman who was thrown off a roof in a drug deal gone bad, up the street at 719 Ashbury, right across from the Grateful Dead’s old house. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/DeadHouse-450x600.jpg\" alt=\"DeadHouse\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>“Taking LSD is like taking a helicopter ride to the edge of the Grand Canyon,” Coyote says, by way of getting into the drug casualties, overdoses, theft and other elements that riddled the scene. He returns to this later, but now it’s time to head into the Haight-Ashbury Music Center. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MusicStore-450x600.jpg\" alt=\"MusicStore\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Yes, you walk into the store, and ask the clerk to go into the back room. At this point Coyote hands the tour over to Mary Gannon Alfiler, former bassist for the band Ace of Cups, who tells great stories about how sexist the rock industry was in the ’60s, including her timeless response to a request to play topless. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/AceCups-798x600.jpg\" alt=\"AceCups\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>I’m also directed into Booksmith, where I get to ask the friendly girl behind the counter for a book of Jim Marshall’s photographs of the neighborhood. I also get to sit at this fine desk.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Booksmith-800x600.jpg\" alt=\"Booksmith\" width=\"800\" height=\"600\" class=\"aligncenter size-medium wp-image-11241705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“Do you see any street kids around?” Coyote asks me, and sure enough, three dreadlocked teens in backbacks walk by holding a sign that reads “Just Passing Thru / Love You / Spare a Few.” He directs my attention to Huckleberry House, the homeless center still in operation to this day, before guiding me to the exterior of the Haight-Ashbury Free Clinic. There, founder \u003ca href=\"https://en.wikipedia.org/wiki/David_E._Smith\" target=\"_blank\" rel=\"noopener\">Dr. Dave\u003c/a> tells me, “We would treat over 100 heroin addicts a day.” The sign once posted on the door at its original opening is replicated anew.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-450x600.jpg\" alt=\"FreeCLinicDoor\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Coyote mentions the iconography that now represents his era: the abundance in the neighborhood of smiley faces, peace signs, and dead rock stars. “They just don’t line up with my vision of what the scene was,” he says, “and what we set out to accomplish.” Particular notice is given to the presence of George Harrison on a tall mural; George Harrison called the Haight “terrible,” Coyote says, and stopped taking LSD after visiting San Francisco and seeing what it’d done. And now he’s on a mural here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/George-798x600.jpg\" alt=\"George\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>But Coyote allows some pride for what he and his fellow Haight residents accomplished. Not for having revolutionized the world, but for, as he puts it, while I stand in a patio behind Jimi Hendrix’s old place, “moving the cultural needle.” The idea that women should be treated equally, the idea that medical care should be available to all, the idea that healthy food should be in steady supply — “the fact that these victories seem unremarkable,” he says, “well, that’s the best victory of all. They’re \u003cem>normal\u003c/em> now.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Detour’s suite of San Francisco tours is $24.99, and \u003ca href=\"https://www.detour.com/san-francisco/haight-ashbury\" target=\"_blank\" rel=\"noopener\">available here\u003c/a>. Tours in the package include “The Castro,” “The Tenderloin,” “The Beat Generation,” “Fisherman’s Wharf,” “Cool Gray City,” “Architecture,” “Beyond the Painted Ladies” and more; “Haight-Ashbury” is presented by KQED. \u003ca href=\"http://www.petercoyote.com/\" target=\"_blank\" rel=\"noopener\">Peter Coyote\u003c/a> can be seen in the Mandy Moore classic ‘A Walk to Remember’ and in the courtroom drama ‘Jagged Edge,’ among over 120 other feature-length films.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I’d heard that \u003ca href=\"https://www.detour.com/\" target=\"_blank\" rel=\"noopener\">Detour\u003c/a> had created a \u003ca href=\"https://www.detour.com/san-francisco/haight-ashbury\" target=\"_blank\" rel=\"noopener\">walking tour of the Haight-Ashbury\u003c/a>, I was instantly dubious.\u003c/p>\n\u003cp>Part of it is my wariness of tech’s often unfulfilled promise to create a rich, human experience; Detour is an app that offers tours of neighborhoods, narrated by notable figures and experienced through one’s GPS-enabled smartphone. But a larger part is that, as a child of the 1980s, hearing Boomers wax rhapsodic about San Francisco’s rock revolution of the 1960s being The Most Important Thing To Happen In The World Ever has become, well, a weary thing. How many times can someone hear the same stories about Janis Joplin, the Jefferson Airplane and the Grateful Dead?\u003c/p>\n\u003cp>I’m here to tell you that my hesitation was unwarranted, and for a simple reason: Peter Coyote, the tour’s host, who provides a firsthand account of the neighborhood without the back-patting and self-serving revisionist history so prevalent in reminiscences of 1960s-era Haight-Ashbury. (In a \u003ca href=\"http://blog.detour.com/request-for-pitches/\" target=\"_blank\" rel=\"noopener\">call for pitches last year\u003c/a>, Detour asked specifically for “something even hippy-haters would love,” and while Coyote certainly has personal anecdotes galore, he sufficiently distances himself from nostalgia on the tour (which, full disclosure, is presented by KQED)). He also focuses less on the well-trampled underground rock scene, and more on the noble ideals of he and his LBJ-era peers. And, importantly, this is one of those rare times that an app truly delivers on the “human connection” promise — visitors have the sensation that Coyote is walking right alongside them.\u003c/p>\n\u003cfigure id=\"attachment_11241706\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/StreetView-800x600.jpg\" alt=\"Haight Street.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11241706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/StreetView.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Haight Street.\u003c/figcaption>\u003c/figure>\n\u003cp>On his old stomping grounds — Coyote was an early member of the \u003ca href=\"https://en.wikipedia.org/wiki/Diggers_%28theater%29\" target=\"_blank\" rel=\"noopener\">Diggers\u003c/a> and the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Mime_Troupe\" target=\"_blank\" rel=\"noopener\">San Francisco Mime Troupe\u003c/a> — he evaluates the Haight’s accomplishments realistically and talks honestly about the seedy underbelly of the era. Coyote has fun with the app’s technical possibilities too; after an intro about \u003ca href=\"https://foursquare.com/v/susan-j-bierman-memorial-benches/526d9ae111d256e38ca64e4c\" target=\"_blank\" rel=\"noopener\">Sue Bierman\u003c/a> and her fight against the plans for a freeway running through the panhandle, where Jimi Hendrix performed and where the SF Mime Troupe began, he asks me to cross the street. “And don’t get run over,” he says while I’m in the middle of the crosswalk, “or you’ll miss how it turns out.” \u003c/p>\n\u003cp>Here’s a peek into how it turns out. I won’t give away everything.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Coyote introduces the neighborhood by talking about the artists priced out of North Beach who flocked there in the early 1960s, and of their homes overrun with visitors, “doors wide open,” welcoming to all. As I walk up Cole Street, right at this part, I notice a very different type of welcome here in 2016. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/NoTress-450x600.jpg\" alt=\"NoTress\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/NoTress.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Around the corner, I’m brought to the former site of the Free Store, an operation located inside a garage where everything was free — “You could even get a free new identity here,” Coyote says, explaining the site’s draft-card ring for those who wished to leave their white collared shirts on the rack and disappear into the Haight. (There’s a great story here about the birth of tie-dye, too.) \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeSTore-800x600.jpg\" alt=\"FreeSTore\" width=\"800\" height=\"600\" class=\"aligncenter size-medium wp-image-11241699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeSTore.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The tour asks visitors to bring along a small object, and a small metal box in front of the house is the reason why. The current residents have agreed to this tiny re-creation of the free store, where visitors are given the combination to the box and trade their small item for another. It’s marvelous, really. As I was crouched down, the mailman mistook me for the owner of the house and tried to hand me the mail. Then Peter Coyote told me about the time that Fish & Game offered the Free Store a 1,500-lb. whale (they accepted).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeBox-798x600.jpg\" alt=\"FreeBox\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeBox.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>Up Ashbury, after Coyote bemoans the way \u003cem>Chronicle\u003c/em> columnist Herb Caen “infantilized us” by coining the term “hippie,” I come to Janis Joplin’s old house.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/JanisHouse-451x600.jpg\" alt=\"JanisHouse\" width=\"451\" height=\"600\" class=\"aligncenter size-medium wp-image-11241708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse-451x600.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse-400x532.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/JanisHouse.jpg 600w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003c/p>\n\u003cp>Coyote explains he was friends with Joplin, drug partners, lovers, even; he spends as much time on her as he spends on a woman who was thrown off a roof in a drug deal gone bad, up the street at 719 Ashbury, right across from the Grateful Dead’s old house. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/DeadHouse-450x600.jpg\" alt=\"DeadHouse\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DeadHouse.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>“Taking LSD is like taking a helicopter ride to the edge of the Grand Canyon,” Coyote says, by way of getting into the drug casualties, overdoses, theft and other elements that riddled the scene. He returns to this later, but now it’s time to head into the Haight-Ashbury Music Center. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MusicStore-450x600.jpg\" alt=\"MusicStore\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MusicStore.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Yes, you walk into the store, and ask the clerk to go into the back room. At this point Coyote hands the tour over to Mary Gannon Alfiler, former bassist for the band Ace of Cups, who tells great stories about how sexist the rock industry was in the ’60s, including her timeless response to a request to play topless. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/AceCups-798x600.jpg\" alt=\"AceCups\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/AceCups.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>I’m also directed into Booksmith, where I get to ask the friendly girl behind the counter for a book of Jim Marshall’s photographs of the neighborhood. I also get to sit at this fine desk.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Booksmith-800x600.jpg\" alt=\"Booksmith\" width=\"800\" height=\"600\" class=\"aligncenter size-medium wp-image-11241705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Booksmith.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“Do you see any street kids around?” Coyote asks me, and sure enough, three dreadlocked teens in backbacks walk by holding a sign that reads “Just Passing Thru / Love You / Spare a Few.” He directs my attention to Huckleberry House, the homeless center still in operation to this day, before guiding me to the exterior of the Haight-Ashbury Free Clinic. There, founder \u003ca href=\"https://en.wikipedia.org/wiki/David_E._Smith\" target=\"_blank\" rel=\"noopener\">Dr. Dave\u003c/a> tells me, “We would treat over 100 heroin addicts a day.” The sign once posted on the door at its original opening is replicated anew.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-450x600.jpg\" alt=\"FreeCLinicDoor\" width=\"450\" height=\"600\" class=\"aligncenter size-medium wp-image-11241704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/FreeCLinicDoor.jpg 600w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>Coyote mentions the iconography that now represents his era: the abundance in the neighborhood of smiley faces, peace signs, and dead rock stars. “They just don’t line up with my vision of what the scene was,” he says, “and what we set out to accomplish.” Particular notice is given to the presence of George Harrison on a tall mural; George Harrison called the Haight “terrible,” Coyote says, and stopped taking LSD after visiting San Francisco and seeing what it’d done. And now he’s on a mural here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/George-798x600.jpg\" alt=\"George\" width=\"798\" height=\"600\" class=\"aligncenter size-medium wp-image-11241701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George-960x722.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/George.jpg 1100w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003c/p>\n\u003cp>But Coyote allows some pride for what he and his fellow Haight residents accomplished. Not for having revolutionized the world, but for, as he puts it, while I stand in a patio behind Jimi Hendrix’s old place, “moving the cultural needle.” The idea that women should be treated equally, the idea that medical care should be available to all, the idea that healthy food should be in steady supply — “the fact that these victories seem unremarkable,” he says, “well, that’s the best victory of all. They’re \u003cem>normal\u003c/em> now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Detour’s suite of San Francisco tours is $24.99, and \u003ca href=\"https://www.detour.com/san-francisco/haight-ashbury\" target=\"_blank\" rel=\"noopener\">available here\u003c/a>. Tours in the package include “The Castro,” “The Tenderloin,” “The Beat Generation,” “Fisherman’s Wharf,” “Cool Gray City,” “Architecture,” “Beyond the Painted Ladies” and more; “Haight-Ashbury” is presented by KQED. \u003ca href=\"http://www.petercoyote.com/\" target=\"_blank\" rel=\"noopener\">Peter Coyote\u003c/a> can be seen in the Mandy Moore classic ‘A Walk to Remember’ and in the courtroom drama ‘Jagged Edge,’ among over 120 other feature-length films.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "david-bowie-the-internet-visionary",
"title": "David Bowie, the Internet Visionary",
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"content": "\u003cp>David Bowie’s death \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/11/462650669/tributes-pour-in-for-rock-legend-david-bowie\" target=\"_blank\" rel=\"noopener\">has a lot of communities mourning\u003c/a>. Though his greatest success was in music, he was admired as a trailblazer in fashion, film, gender politics and, as it turns out, technology. Here are just a few of his early forays into digital media.\u003c/p>\n\u003cp>In 1996, he released his single “Telling Lies” online and got 300,000 downloads at a time when most of the world barely understood what the Internet was.\u003c/p>\n\u003cp>In 1997, Bowie did a “cybercast” of his Earthling concert in Boston, though it was well before most people had a fast enough Internet connection to really experience it.\u003c/p>\n\u003cp>Then, in 1998 he launched \u003ca href=\"http://www.davidbowie.com/news/ultrastar-launches-bowienet-united-kingdom-47001\" target=\"_blank\" rel=\"noopener\">his own Internet service provider\u003c/a>, BowieNet, which offered global high-speed Internet service. (Well, high speed for its time.)\u003c/p>\n\u003cp>More than that, it was an early fan community. According to a 1998 press release, the service included a personal email address (yourname@davidbowie.com), access to exclusive music from \u003cem>Rolling Stone\u003c/em> and, of course, exclusive content from Bowie and his friends, including live chats with the artist. (BowieNet quietly shut down in 2006.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1999, Bowie made a foray into \u003ca href=\"http://www.pastemagazine.com/articles/2016/01/time-may-change-me-david-bowie-and-omikron-the-nom-1.html\" target=\"_blank\" rel=\"noopener\">the video game world\u003c/a>. He worked on the soundtrack for Omikron: The Nomad Soul with French game developer Quantic Dream and made an appearance in the game itself.\u003c/p>\n\u003cp>Bowie’s endeavors proved ahead of their time. Though launching new Internet services may not have become commonplace for artists, the rest has: Musicians write music for video games, live-stream concerts, share music digitally and engage with fans online.\u003c/p>\n\u003cp>Bowie understood before most of his compatriots in the music business that the Internet would change everything. \u003ca href=\"https://www.youtube.com/watch?time_continue=397&v=FiK7s_0tGsg\" target=\"_blank\" rel=\"noopener\">In an interview from late 1999\u003c/a>, Bowie spouted off about the revolutionary qualities of the Internet to the largely skeptical BBC interviewer Jeremy Paxman.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FiK7s_0tGsg\u003c/p>\n\u003cp>Bowie told Paxman that if he were 19 at the time of their chat, he wouldn’t have gone into music, which he thought had lost its place as the flag-bearer of rebellion. “The Internet carries the flag of being subversive and possibly rebellious and chaotic, nihilistic,” Bowie said.\u003c/p>\n\u003cp>What Bowie seemed to know in his gut was the Internet was fundamentally shifting the relationship between artist and audience. And while so many musicians and music business insiders reacted to the changes with fear, Bowie was filled with curiosity, inspired by technology.\u003c/p>\n\u003cp>“It’s becoming more about the audience,” he said. “So from my standpoint, being an artist, I want to see what the new construction is between artist and audience. There is a breakdown.”\u003c/p>\n\u003cp>Bowie cited rave culture “where the audience is at least as important as whoever is playing at the rave,” as if the artist accompanies the audience.\u003c/p>\n\u003cp>“I don’t think we’ve seen the tip of the iceberg,” Bowie told Paxman. “It’s almost if we’re on the cusp of something both exhilarating and terrifying.”\u003c/p>\n\u003cp>Bowie mentioned the French-American artist Marcel Duchamp, whom he called prescient on the idea that a piece of work is not finished until the audience adds its interpretation — “and what the piece of art is about is the gray space in the middle.”\u003c/p>\n\u003cp>To Bowie, the 21st century was all going to be about the gray space in the middle. The place where artist and audience meet and improvise — a kind of ongoing live performance. With a little bit of irony, he called the Internet “an alien life form.”\u003c/p>\n\u003cp>Of course, some thought Bowie himself was a bit of an alien life form. His first starring \u003ca href=\"http://www.npr.org/2016/01/11/462691030/ziggy-stardust-was-a-star-on-screen-too\">film role\u003c/a> was as an alien in \u003cem>The Man Who Fell To Earth\u003c/em>. And it was one of so many roles he played on stage and on screen — Ziggy Stardust, Aladdin Sane, the Thin White Duke, Jareth the Goblin King, Major Tom.\u003c/p>\n\u003cp>Bowie was an explorer of what it meant to be human. He took us places with his music and creativity. And he was curious and interested to find out how new technology would shape him and us. Sadly, he won’t be here to help us continue this exploration of “the gray space in the middle.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For my part, I say thank you, David Bowie, for helping to launch us into the 21st century. I have faith that your music will be very much alive online. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Bowie%2C+The+Internet+Visionary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Bowie’s death \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/11/462650669/tributes-pour-in-for-rock-legend-david-bowie\" target=\"_blank\" rel=\"noopener\">has a lot of communities mourning\u003c/a>. Though his greatest success was in music, he was admired as a trailblazer in fashion, film, gender politics and, as it turns out, technology. Here are just a few of his early forays into digital media.\u003c/p>\n\u003cp>In 1996, he released his single “Telling Lies” online and got 300,000 downloads at a time when most of the world barely understood what the Internet was.\u003c/p>\n\u003cp>In 1997, Bowie did a “cybercast” of his Earthling concert in Boston, though it was well before most people had a fast enough Internet connection to really experience it.\u003c/p>\n\u003cp>Then, in 1998 he launched \u003ca href=\"http://www.davidbowie.com/news/ultrastar-launches-bowienet-united-kingdom-47001\" target=\"_blank\" rel=\"noopener\">his own Internet service provider\u003c/a>, BowieNet, which offered global high-speed Internet service. (Well, high speed for its time.)\u003c/p>\n\u003cp>More than that, it was an early fan community. According to a 1998 press release, the service included a personal email address (yourname@davidbowie.com), access to exclusive music from \u003cem>Rolling Stone\u003c/em> and, of course, exclusive content from Bowie and his friends, including live chats with the artist. (BowieNet quietly shut down in 2006.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1999, Bowie made a foray into \u003ca href=\"http://www.pastemagazine.com/articles/2016/01/time-may-change-me-david-bowie-and-omikron-the-nom-1.html\" target=\"_blank\" rel=\"noopener\">the video game world\u003c/a>. He worked on the soundtrack for Omikron: The Nomad Soul with French game developer Quantic Dream and made an appearance in the game itself.\u003c/p>\n\u003cp>Bowie’s endeavors proved ahead of their time. Though launching new Internet services may not have become commonplace for artists, the rest has: Musicians write music for video games, live-stream concerts, share music digitally and engage with fans online.\u003c/p>\n\u003cp>Bowie understood before most of his compatriots in the music business that the Internet would change everything. \u003ca href=\"https://www.youtube.com/watch?time_continue=397&v=FiK7s_0tGsg\" target=\"_blank\" rel=\"noopener\">In an interview from late 1999\u003c/a>, Bowie spouted off about the revolutionary qualities of the Internet to the largely skeptical BBC interviewer Jeremy Paxman.\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/FiK7s_0tGsg'\n title='//www.youtube.com/embed/FiK7s_0tGsg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bowie told Paxman that if he were 19 at the time of their chat, he wouldn’t have gone into music, which he thought had lost its place as the flag-bearer of rebellion. “The Internet carries the flag of being subversive and possibly rebellious and chaotic, nihilistic,” Bowie said.\u003c/p>\n\u003cp>What Bowie seemed to know in his gut was the Internet was fundamentally shifting the relationship between artist and audience. And while so many musicians and music business insiders reacted to the changes with fear, Bowie was filled with curiosity, inspired by technology.\u003c/p>\n\u003cp>“It’s becoming more about the audience,” he said. “So from my standpoint, being an artist, I want to see what the new construction is between artist and audience. There is a breakdown.”\u003c/p>\n\u003cp>Bowie cited rave culture “where the audience is at least as important as whoever is playing at the rave,” as if the artist accompanies the audience.\u003c/p>\n\u003cp>“I don’t think we’ve seen the tip of the iceberg,” Bowie told Paxman. “It’s almost if we’re on the cusp of something both exhilarating and terrifying.”\u003c/p>\n\u003cp>Bowie mentioned the French-American artist Marcel Duchamp, whom he called prescient on the idea that a piece of work is not finished until the audience adds its interpretation — “and what the piece of art is about is the gray space in the middle.”\u003c/p>\n\u003cp>To Bowie, the 21st century was all going to be about the gray space in the middle. The place where artist and audience meet and improvise — a kind of ongoing live performance. With a little bit of irony, he called the Internet “an alien life form.”\u003c/p>\n\u003cp>Of course, some thought Bowie himself was a bit of an alien life form. His first starring \u003ca href=\"http://www.npr.org/2016/01/11/462691030/ziggy-stardust-was-a-star-on-screen-too\">film role\u003c/a> was as an alien in \u003cem>The Man Who Fell To Earth\u003c/em>. And it was one of so many roles he played on stage and on screen — Ziggy Stardust, Aladdin Sane, the Thin White Duke, Jareth the Goblin King, Major Tom.\u003c/p>\n\u003cp>Bowie was an explorer of what it meant to be human. He took us places with his music and creativity. And he was curious and interested to find out how new technology would shape him and us. Sadly, he won’t be here to help us continue this exploration of “the gray space in the middle.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For my part, I say thank you, David Bowie, for helping to launch us into the 21st century. I have faith that your music will be very much alive online. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Bowie%2C+The+Internet+Visionary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It is 1997, I am 13 years old, and I have the house to myself.\u003c/p>\n\u003cp>This is a situation people relish at any age -- but when you are 13 years old and confused all the time and spend most of your days in seemingly vacuum-sealed rooms, occupying a series of plastic chairs lined up next to other plastic chairs containing other 13-year-olds who are seething with tumultuous home lives and hormones and unfortunate harbingers of facial hair, a house to yourself is a kingdom. It is possibility.\u003c/p>\n\u003cp>I already know about music as an escape hatch: I have my stereo in my room, and my mixtapes made off local alt-rock radio stations, and the East Bay punk bands in whom I have such incredibly fierce pride that I hope it helps cover for the fact that I am not actually drinking forties down by the BART tracks with safety pins on my clothes; I am home doing my homework, for now, at least.\u003c/p>\n\u003cp>If I've realized that music can be a tunnel out, though, I am still learning its dimensions -- how far back this goes, how far off it can take you, how long other people have known about this -- and I am doing that by going through my parents' records. They are vaguely alphabetized. Joe Jackson, Janis Joplin, The Kinks, Carole King.\u003c/p>\n\u003cp>My first real encounter with David Bowie is this: I take \u003cem>Hunky Dory \u003c/em>off\u003cem> \u003c/em>the shelf, consider its weathered exterior, pull the record from its sleeve, and place it on the turntable. Then I sit cross-legged on the couch -- between the two speakers, enveloped by sound -- and listen with what feels like every pore on my body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dgQHZjAafo4\u003c/p>\n\u003cp>I am now in my thirties, and I have known for some time now, while also knowing this is a fantastically unreasonable standard, that all I want from music -- from any art, really -- is for it to make me feel the way I felt the first time I heard the first chorus of \"Oh! You Pretty Things.\" The overwhelming, visceral thrill of it: the moment the strings and bass knock your feet out from under you, the seconds-long swoop of going upside down on a rollercoaster -- and when the chorus is over, the awareness that your ear is straining for it to come around again, but also that the anticipation is half the fun. That something with no measurable or useful effect on your body has seemingly rewired your brain to make you crave it; that you are now a junkie; that because of sounds recorded in 1971, you just went \u003cem>somewhere else entirely\u003c/em> while sitting in your parents' living room in 1997. The slow realization that music maybe isn't a secret escape hatch, but rather a vast entry portal hiding in plain sight, and what's on the other side is maybe much, much bigger than you ever imagined.\u003c/p>\n\u003cp>Look, I know that writing about a David Bowie memory right now is self-indulgent. It feels gross, and it feels like not enough, and it would feel that way if I spent the next five years writing it, which I could very easily do. There's no way around this inadequacy: I could choose to put on my objective critic's hat and focus on how forward-thinking he always was; how tremendously gratifying it is that mainstream pop music was ever this deeply queer and challenging, and offer a hope that we ever get there again. I could say David Bowie's work is what all art should strive to be: a mirror, a warm blanket, a firepoker. And that even his death -- his just-released record, a final act of \u003ca href=\"https://www.youtube.com/watch?v=kszLwBaC4Sw\" target=\"_blank\">perfectly timed theater\u003c/a>, so Bowie-esque you want to punch the guy -- should serve as an inspiration.\u003c/p>\n\u003cp>I could declare, correctly, that because I'm a heterosexual white girl he meant different things to me than he did to other people, people who saw themselves reflected in him for the first time, in real and irreplaceable ways. But I might also venture that one constant throughout his chameleon-like career was a sense of inclusivity alongside the playfulness, and the result was that once you let him in, his music had a mainline straight to your emotional gut no matter who you were; David Bowie would likely not care for the idea of posthumous ownership Olympics.\u003c/p>\n\u003cfigure id=\"attachment_19826\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-19826\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-400x225.jpg\" alt=\"David Bowie performing in Hartford, Conn., in 1995. \" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff.jpg 1400w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie performing in Hartford, Conn., in 1995. \u003ccite>(via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of which is to say, there are a lot of pieces containing a lot of people's Bowie memories on the internet today, and none of them are going to be enough, and I want to suggest that that's okay, because the truth is we don't know how else to say thank you. We do know how to say \"This is what he meant\u003cem> to me.\u003c/em>\" And because he contained multitudes, it'd be odd if that outpouring were anything but prismatic.\u003c/p>\n\u003cp>So rather than clamor for one true legacy or final word on the man, I'd offer a step back and, if you can muster it, a tamping down of the inevitable cynicism about the way we process celebrity deaths via social media in 2016. I'm going to aim, at least, in scrolling through an endless feed of search engine-optimized rock star death #content and music videos and entire articles crafted around tweets, for a sober 13-year-old's sense of awe -- at David Bowie's art, at his humanity, and at the fact that it's possible for this one weird, beautiful human to have changed so many other humans in so many weird, beautiful ways.\u003c/p>\n\u003cp>We don't run into the streets so much anymore, as a society. We don't pound on neighbors' doors to spread the news. We're all sitting on different couches right now, behind separate computers, in separate orbits, with entirely different interpretations of what it is we've just lost. What we can do, together, is find ourselves some good speakers and hit \"play.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YQTENuQYgjM\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dgQHZjAafo4'\n title='//www.youtube.com/embed/dgQHZjAafo4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I am now in my thirties, and I have known for some time now, while also knowing this is a fantastically unreasonable standard, that all I want from music -- from any art, really -- is for it to make me feel the way I felt the first time I heard the first chorus of \"Oh! You Pretty Things.\" The overwhelming, visceral thrill of it: the moment the strings and bass knock your feet out from under you, the seconds-long swoop of going upside down on a rollercoaster -- and when the chorus is over, the awareness that your ear is straining for it to come around again, but also that the anticipation is half the fun. That something with no measurable or useful effect on your body has seemingly rewired your brain to make you crave it; that you are now a junkie; that because of sounds recorded in 1971, you just went \u003cem>somewhere else entirely\u003c/em> while sitting in your parents' living room in 1997. The slow realization that music maybe isn't a secret escape hatch, but rather a vast entry portal hiding in plain sight, and what's on the other side is maybe much, much bigger than you ever imagined.\u003c/p>\n\u003cp>Look, I know that writing about a David Bowie memory right now is self-indulgent. It feels gross, and it feels like not enough, and it would feel that way if I spent the next five years writing it, which I could very easily do. There's no way around this inadequacy: I could choose to put on my objective critic's hat and focus on how forward-thinking he always was; how tremendously gratifying it is that mainstream pop music was ever this deeply queer and challenging, and offer a hope that we ever get there again. I could say David Bowie's work is what all art should strive to be: a mirror, a warm blanket, a firepoker. And that even his death -- his just-released record, a final act of \u003ca href=\"https://www.youtube.com/watch?v=kszLwBaC4Sw\" target=\"_blank\">perfectly timed theater\u003c/a>, so Bowie-esque you want to punch the guy -- should serve as an inspiration.\u003c/p>\n\u003cp>I could declare, correctly, that because I'm a heterosexual white girl he meant different things to me than he did to other people, people who saw themselves reflected in him for the first time, in real and irreplaceable ways. But I might also venture that one constant throughout his chameleon-like career was a sense of inclusivity alongside the playfulness, and the result was that once you let him in, his music had a mainline straight to your emotional gut no matter who you were; David Bowie would likely not care for the idea of posthumous ownership Olympics.\u003c/p>\n\u003cfigure id=\"attachment_19826\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-19826\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-400x225.jpg\" alt=\"David Bowie performing in Hartford, Conn., in 1995. \" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/ap_385067366426_wide-67cfd59e7ffde18565d23413a2fb14930ef928ff.jpg 1400w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie performing in Hartford, Conn., in 1995. \u003ccite>(via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of which is to say, there are a lot of pieces containing a lot of people's Bowie memories on the internet today, and none of them are going to be enough, and I want to suggest that that's okay, because the truth is we don't know how else to say thank you. We do know how to say \"This is what he meant\u003cem> to me.\u003c/em>\" And because he contained multitudes, it'd be odd if that outpouring were anything but prismatic.\u003c/p>\n\u003cp>So rather than clamor for one true legacy or final word on the man, I'd offer a step back and, if you can muster it, a tamping down of the inevitable cynicism about the way we process celebrity deaths via social media in 2016. I'm going to aim, at least, in scrolling through an endless feed of search engine-optimized rock star death #content and music videos and entire articles crafted around tweets, for a sober 13-year-old's sense of awe -- at David Bowie's art, at his humanity, and at the fact that it's possible for this one weird, beautiful human to have changed so many other humans in so many weird, beautiful ways.\u003c/p>\n\u003cp>We don't run into the streets so much anymore, as a society. We don't pound on neighbors' doors to spread the news. We're all sitting on different couches right now, behind separate computers, in separate orbits, with entirely different interpretations of what it is we've just lost. What we can do, together, is find ourselves some good speakers and hit \"play.\"\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/YQTENuQYgjM'\n title='//www.youtube.com/embed/YQTENuQYgjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>By now, you've heard that the eclectic wonder David Bowie has passed at the age of 69. You've probably spent all morning listening to his music and talking about his impact with your coworkers. And you're probably planning on watching \u003cem>Labyrinth\u003c/em> after work. But who says you have to wait?\u003c/p>\n\u003cp>A kind YouTube user by the name of \u003ca class=\"yt-uix-sessionlink g-hovercard spf-link \" href=\"https://www.youtube.com/channel/UC7G1sxMxMnmXy7Pi_SviO_A\">Lenora1854\u003c/a> has generously compiled all the Jareth scenes from the 1986 film. So dance, magic, dance. Jump, magic, jump. Put that baby spell on [your boss so they won't give you any guff for spending the next 20 minutes glued to the Goblin King]:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ofRJwYWHriM\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ckf-VelLbxg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>David Bowie, the legendary British singer-songwriter whose 50-year body of work influenced countless musicians and helped spawn multiple musical genres, has died from cancer. He was 69.\u003c/p>\n\u003cp>[contextly_sidebar id=”eDBOY8TeMHKgwyF7jbL0NIJ5gFI5Svxg”]\u003c/p>\n\u003cp>Bowie, born David Robert Jones in 1947, died Sunday surrounded by family after an 18-month battle with the disease, according to a statement released \u003ca href=\"http://www.davidbowie.com/news/january-10-2016-55521\" target=\"_blank\" rel=\"noopener\">on his website\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>David Bowie died peacefully today surrounded by his family after a courageous 18 month battle with cancer. While many of you will share in this loss, we ask that you respect the family’s privacy during their time of grief.\u003c/p>\u003c/blockquote>\n\u003cp>The news was confirmed by his son Duncan on Twitter:\u003c/p>\n\u003cp>https://twitter.com/ManMadeMoon/status/686441083648212992\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bowie’s diagnosis had been kept a secret while his career had seen a recent resurgence: just two days prior to his death, on his 69th birthday, he released his 26th album, the widely-acclaimed \u003ci>Blackstar\u003c/i>. In New York, a musical Bowie co-wrote titled \u003ci>Lazarus\u003c/i> recently \u003ca href=\"http://www.newyorkcitytheatre.com/theaters/newyorktheaterworkshop/lazarus.php\" target=\"_blank\" rel=\"noopener\">debuted off-Broadway\u003c/a> to sold-out crowds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kszLwBaC4Sw\u003c/p>\n\u003cp>As the news of Bowie’s death has spread across the Internet, many are saying his that these last works were \u003ca href=\"http://www.telegraph.co.uk/culture/music/music-news/12093704/How-David-Bowie-turned-his-own-death-into-a-piece-of-art-after-keeping-terminal-cancer-a-secret.html\" target=\"_blank\" rel=\"noopener\">his farewell messages to the world\u003c/a>; a thesis that has been corroborated by Bowie’s longtime producer, Tony Visconti:\u003c/p>\n\u003cp>https://www.facebook.com/tony.visconti1/posts/10208522003550232\u003c/p>\n\u003cp>Fearless from the start of his career — the cover of his second album, 1970’s \u003ci>The Man Who Sold the World\u003c/i>, features a picture of him wearing a dress — Bowie’s work would go on to take multiple forms. His stardom began with the melody-heavy glam of Ziggy Stardust, led to the cocaine-fueled soul of the Thin White Duke, which was followed by rehab and the ground-breaking synth rock of his Berlin Trilogy (\u003ci>Low, Heroes\u003c/i> and \u003ci>Lodger\u003c/i>) and a return to soul and pop music during his most successful period, after the release of 1983’s \u003ci>Let’s Dance.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11237136\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11237136\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-400x400.jpg\" alt=\"The original cover of 'Man Who Sold The World'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world.jpg 1300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The original cover of ‘Man Who Sold The World’\u003c/figcaption>\u003c/figure>\n\u003cp>But Bowie never stopped recording nor experimenting. In the late ’80s he took a hiatus from solo work and started the harsh, return-to-rock-roots band Tin Machine, which released three underrated albums. He also took part in the rise of Industrial Rock during the mid-’90s, after bands like Nine Inch Nails were openly effusive about their love for his work. This willingness to both adapt to evolving musical tastes as well as anticipate new genres was essential to the longevity of his musical career, which was successful right up to the end: \u003ci>The Next Day,\u003c/i> released in 2013 after a long hiatus, charted at No. 1 not just in the U.S. but all over the world, and was nominated for \u003ca href=\"https://en.wikipedia.org/wiki/The_Next_Day\" target=\"_blank\" rel=\"noopener\">Best Rock Album at the 2014 Grammy Awards\u003c/a>.\u003c/p>\n\u003cp>Besides being an influential musician and actor — \u003ca href=\"http://www.imdb.com/name/nm0000309/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">he starred in several films\u003c/a>, his first feature being the cult classic \u003ci>The Man Who Fell to Earth\u003c/i> — Bowie was an avid comedy fan, bringing entire video libraries of British comedy shows and classic funny films with him to the studio while he recorded his later albums. His appreciation for humor was apparent in his appearance on the Ricky Gervais-created TV show \u003ci>Extras,\u003c/i> which is as memorable as any of his songs:\u003c/p>\n\u003cp>https://youtu.be/v4ci-N-GT88?t=3m50s\u003c/p>\n\u003cp>Much more can be said about Bowie’s career and influence — on social media Sunday night, a \u003ca href=\"http://www.usatoday.com/story/life/people/2016/01/11/family-stars-mourn-david-bowies-death/78617544/\" target=\"_blank\" rel=\"noopener\">near-universal outpouring from fellow musicians\u003c/a> proved his impact. Among his strongest legacies in the world of music and celebrity was Bowie’s shapeshifting nature, beginning with the first time he publicly shed one form of himself to move onto another: the last song he performed as the glam-rock muse Ziggy Stardust, “Rock ‘N’ Roll Suicide,” captured in the D.A. Pennebaker-directed concert film \u003ci>Ziggy Stardust and the Spiders from Mars:\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CD1nzOeS6U0\u003c/p>\n\u003cp>\u003ci>GIF showing David Bowie’s many “ch-ch-changes” over his 50-year music career by \u003ca href=\"https://twitter.com/helengreeen\" target=\"_blank\" rel=\"noopener\">Helen Green\u003c/a>\u003c/i>:\u003c/p>\n\u003cp>https://www.facebook.com/kqedarts/posts/977570555649061\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated with more details as we learn them.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bowie’s diagnosis had been kept a secret while his career had seen a recent resurgence: just two days prior to his death, on his 69th birthday, he released his 26th album, the widely-acclaimed \u003ci>Blackstar\u003c/i>. In New York, a musical Bowie co-wrote titled \u003ci>Lazarus\u003c/i> recently \u003ca href=\"http://www.newyorkcitytheatre.com/theaters/newyorktheaterworkshop/lazarus.php\" target=\"_blank\" rel=\"noopener\">debuted off-Broadway\u003c/a> to sold-out crowds.\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/kszLwBaC4Sw'\n title='//www.youtube.com/embed/kszLwBaC4Sw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the news of Bowie’s death has spread across the Internet, many are saying his that these last works were \u003ca href=\"http://www.telegraph.co.uk/culture/music/music-news/12093704/How-David-Bowie-turned-his-own-death-into-a-piece-of-art-after-keeping-terminal-cancer-a-secret.html\" target=\"_blank\" rel=\"noopener\">his farewell messages to the world\u003c/a>; a thesis that has been corroborated by Bowie’s longtime producer, Tony Visconti:\u003c/p>\n\u003cp>https://www.facebook.com/tony.visconti1/posts/10208522003550232\u003c/p>\n\u003cp>Fearless from the start of his career — the cover of his second album, 1970’s \u003ci>The Man Who Sold the World\u003c/i>, features a picture of him wearing a dress — Bowie’s work would go on to take multiple forms. His stardom began with the melody-heavy glam of Ziggy Stardust, led to the cocaine-fueled soul of the Thin White Duke, which was followed by rehab and the ground-breaking synth rock of his Berlin Trilogy (\u003ci>Low, Heroes\u003c/i> and \u003ci>Lodger\u003c/i>) and a return to soul and pop music during his most successful period, after the release of 1983’s \u003ci>Let’s Dance.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11237136\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11237136\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-400x400.jpg\" alt=\"The original cover of 'Man Who Sold The World'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bowie-sold-the-world.jpg 1300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The original cover of ‘Man Who Sold The World’\u003c/figcaption>\u003c/figure>\n\u003cp>But Bowie never stopped recording nor experimenting. In the late ’80s he took a hiatus from solo work and started the harsh, return-to-rock-roots band Tin Machine, which released three underrated albums. He also took part in the rise of Industrial Rock during the mid-’90s, after bands like Nine Inch Nails were openly effusive about their love for his work. This willingness to both adapt to evolving musical tastes as well as anticipate new genres was essential to the longevity of his musical career, which was successful right up to the end: \u003ci>The Next Day,\u003c/i> released in 2013 after a long hiatus, charted at No. 1 not just in the U.S. but all over the world, and was nominated for \u003ca href=\"https://en.wikipedia.org/wiki/The_Next_Day\" target=\"_blank\" rel=\"noopener\">Best Rock Album at the 2014 Grammy Awards\u003c/a>.\u003c/p>\n\u003cp>Besides being an influential musician and actor — \u003ca href=\"http://www.imdb.com/name/nm0000309/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">he starred in several films\u003c/a>, his first feature being the cult classic \u003ci>The Man Who Fell to Earth\u003c/i> — Bowie was an avid comedy fan, bringing entire video libraries of British comedy shows and classic funny films with him to the studio while he recorded his later albums. His appreciation for humor was apparent in his appearance on the Ricky Gervais-created TV show \u003ci>Extras,\u003c/i> which is as memorable as any of his songs:\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/v4ci-N-GT88'\n title='//www.youtube.com/embed/v4ci-N-GT88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Much more can be said about Bowie’s career and influence — on social media Sunday night, a \u003ca href=\"http://www.usatoday.com/story/life/people/2016/01/11/family-stars-mourn-david-bowies-death/78617544/\" target=\"_blank\" rel=\"noopener\">near-universal outpouring from fellow musicians\u003c/a> proved his impact. Among his strongest legacies in the world of music and celebrity was Bowie’s shapeshifting nature, beginning with the first time he publicly shed one form of himself to move onto another: the last song he performed as the glam-rock muse Ziggy Stardust, “Rock ‘N’ Roll Suicide,” captured in the D.A. Pennebaker-directed concert film \u003ci>Ziggy Stardust and the Spiders from Mars:\u003c/i>\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/CD1nzOeS6U0'\n title='//www.youtube.com/embed/CD1nzOeS6U0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>GIF showing David Bowie’s many “ch-ch-changes” over his 50-year music career by \u003ca href=\"https://twitter.com/helengreeen\" target=\"_blank\" rel=\"noopener\">Helen Green\u003c/a>\u003c/i>:\u003c/p>\n\u003cp>https://www.facebook.com/kqedarts/posts/977570555649061\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated with more details as we learn them.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "My Spot: Fresno’s Bustling Cherry Auction Flea Market",
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"content": "\u003cp>\u003cem>Our occasional series \u003ca href=\"http://ww2.kqed.org/news/series/my-spot\" target=\"_blank\">\"My Spot\"\u003c/a> celebrates personal experiences with special places in California.\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/241061369\" 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>It’s a warm, sunny Saturday morning in Fresno, and Giovanni Martinez is doing what he does every weekend: selling clothes at the Cherry Auction south of downtown. Coming twice a week to this buzzing outdoor flea market may be his job, but Martinez says it feels like a family.\u003c/p>\n\u003cp>“It's a perfect representation of the Central Valley,” he says. “I want to say 70 percent of the people that come here are Mexican-American or just some kind of Hispanic-American.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"pk4Od7kE8UbfONgoPytcS4aqVz5Tix0M\"]\u003c/p>\n\u003cp>The 27-year-old business student has been selling women’s sweaters and jackets at the Cherry Auction since he was a teenager. His parents, who run a similar stall two aisles away, have been vendors here and at other markets for more than 15 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I'm a newbie here,” Martinez says. “I know some people have been here longer than 20, almost 30 years. There's really big families here.”\u003c/p>\n\u003cfigure id=\"attachment_10826264\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/CherryAuct-1440x1007.jpg\" alt=\"The Cherry Auction’s booths, full of clothing, furniture, food and cars, sprawl across 54 acres in southern Fresno.\" width=\"640\" height=\"448\" class=\"size-large wp-image-10826264\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/CherryAuct-1440x1007.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/CherryAuct-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/CherryAuct-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/CherryAuct-768x537.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/CherryAuct.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/CherryAuct-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/CherryAuct-960x671.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Cherry Auction’s booths, full of clothing, furniture, food and cars, sprawl across 54 acres in southern Fresno. \u003ccite>(Kerry Klein/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a really big selection, too. Shoppers can find practically anything they want, from toys and lawn equipment to pet birds and used cars. The sprawling market has been around since the 1920s, when it began as a livestock auction.\u003c/p>\n\u003cp>For lunch, Martinez recommends the rumbling white food truck across from his stall. His favorite food there? Fish and shrimp tacos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Cole slaw, sour cream, salsa, lime juice,” he says, smiling. “It just makes you feel like you're in Baja. All you need is a Corona and you're ready to go.”\u003c/p>\n\n",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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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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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
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