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"content": "\u003cp>Right now, 746 inmates await execution in California. We don’t often hear from those inmates, let alone see artwork they make in prison. But organizers of a \u003ca href=\"http://www.windowsondeathrow.com/\" target=\"_blank\">Los Angeles exhibition\u003c/a> of art made by death row inmates from across the country say they hope to reveal the humanity of those people whose lives hang in the balance.\u003c/p>\n\u003cp>On July 16, 2014, U.S. District Judge Cormac J. Carney ruled that California’s death penalty violates the U.S. Constitution’s ban on cruel and unusual punishment because it is arbitrary and plagued with delays. But that decision was overturned on Nov. 12, 2015, on technical grounds, which means executions could potentially move forward. The last execution in the state was in 2006.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/237170725″ 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>\u003ca href=\"http://www.windowsondeathrow.com/incarceratedart/#/kevin-cooper/\" target=\"_blank\">Kevin Cooper\u003c/a> has been on death row in San Quentin State Prison for 30 years. He’s on a short list of at least 17 death row inmates who have exhausted their appeals and would be the first to be put to death if executions resume in California. He spends much of his day in his cell.\u003c/p>\n\u003cp>“I live in a cage that is 4½ feet wide by 11 feet long,” Cooper says. “And everything that I do within this cage I do mostly to stay sane. But I have a TV, a typewriter, my art supplies and my books.”\u003c/p>\n\u003cfigure id=\"attachment_10790891\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10790891 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers.jpg\" alt=\"\" width=\"1920\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-1440x905.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-960x603.jpg 960w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin death row inmate Kevin Cooper (C), with ‘Windows on Death Row’ organizers Patrick Chappatte (L) and Anne Widmann. \u003ccite>(Courtesy Patrick Chappatte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a tray slot in the door where guards pass him his meals or a cellphone. In 1985, Cooper was convicted of murdering four people in the Chino Hills area of Southern California. \u003ca href=\"http://articles.latimes.com/2010/jan/03/local/la-me-kevincooper3-2010jan03\" target=\"_blank\">His case is controversial\u003c/a>. People have marched to have him executed, while others have protested to demand his release. He has always maintained his innocence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2004, Cooper was scheduled to be executed. Less than four hours before he was set to receive a lethal injection, it was postponed to allow for more DNA testing, which still failed to exonerate him. Still, he’s become a figurehead in the movement to abolish the death penalty.\u003c/p>\n\u003cp>[contextly_sidebar id=”kvfLbDPqPmuNxu24neZbunnXMlc6wn65″]\u003c/p>\n\u003cp>“I knew after I survived that stuff that my life wasn’t my own no more, that it belonged to this movement. And I’ve been involved in this movement for a very long time. And that is where I get my strength,” Cooper says.\u003c/p>\n\u003cp>Cooper is one of a couple dozen inmate artists represented in “\u003ca href=\"http://www.windowsondeathrow.com/\">Windows on Death Row\u003c/a>,” an exhibition at the University of Southern California. His acrylic paintings draw connections between slavery and prison labor. One, called “It’s a Generation Thing in America,” shows three black men — a grandfather, father and son — all wearing prison uniforms. Another piece, “Free Me,” shows a man cupping his hand to his mouth and shouting.\u003c/p>\n\u003cfigure id=\"attachment_10790938\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10790938\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/CooperFreeMe.jpg\" alt=\"Kevin Cooper's "Free Me," part of the "Windows on Death Row" exhibition.\" width=\"1920\" height=\"2425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-400x505.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-800x1010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-768x970.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-1440x1819.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-1180x1490.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-960x1213.jpg 960w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Cooper’s “Free Me,” part of the “Windows on Death Row” exhibition. \u003ccite>(Courtesy Kevin Cooper/Windows on Death Row)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sometimes when you’re in a place like this and you tell people certain things, it’s just like they don’t hear. You have to scream it,” Cooper says. “And sometimes when you scream, they still don’t hear you.”\u003c/p>\n\u003cp>“Windows on Death Row” was organized by a Swiss couple: Patrick Chappatte, a political cartoonist for the International New York Times, and TV journalist and documentary filmmaker Anne Widmann. Chappatte says they wanted to reveal the humanity of the inmates.\u003c/p>\n\u003cp>“And that’s what is a bit unsettling, might be unsettling for some viewers, because death row is a place, is a forgotten place where we put, as a society we put people that are seen as monsters, and we don’t pay attention to what’s going on there. And what you see through the art is actually, you see beauty, you see human emotions,” Chappatte said.\u003c/p>\n\u003cp>Over 70 framed drawings and paintings line the walls. Some of those include political cartoons submitted by Chappatte’s fellow cartoonists. All the pieces in the show are critical of capital punishment. Chappatte said he reached out to conservative cartoonists but they, too, were against capital punishment.\u003c/p>\n\u003cp>“One of the cartoonists says that he’s describing in one of his cartoons that he was for death penalty, then changed his mind. Another of the conservative cartoonists told me, ‘You know what, I’m pro-life all the way, so I’m anti-abortion and anti-death penalty,’ ” Chappatte recalls.\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"large\" ids=\"10790941,10790943\"]\u003c/p>\n\u003cp>The cartoonist who changed his mind about the death penalty is Jack Ohman, editorial cartoonist for the Sacramento Bee and president of the Association of American Editorial Cartoonists.\u003c/p>\n\u003cp>“I don’t want to be executing somebody who — even if they had committed the crime — I don’t think that sends the right signal. As a society, if you’re saying killing is wrong, killing is wrong. We shouldn’t be killing,” Ohman says.\u003c/p>\n\u003cp>Widmann says “Windows on Death Row” is not about taking sides between criminals and victims. She points out that the group “Murder Victims’ Families for Human Rights” is one of the show’s sponsors. But she does want visitors to think about how race and class factor into how likely defendants are to be sentenced to death.\u003c/p>\n\u003cp>“I mean, look at this system. It’s broken. I mean, how come terrible murderers are not on death row, and how come some are? How come some people have money to hire great lawyers, and how come others don’t?” Widmann says. “It has nothing to do with empathy with criminals, you see what I mean?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Windows on Death Row” will travel to North Carolina and Ohio after it closes in Los Angeles on Dec. 18.\u003c/p>\n\n",
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"title": "L.A. Exhibition Showcases Art From Inside Death Row | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Right now, 746 inmates await execution in California. We don’t often hear from those inmates, let alone see artwork they make in prison. But organizers of a \u003ca href=\"http://www.windowsondeathrow.com/\" target=\"_blank\">Los Angeles exhibition\u003c/a> of art made by death row inmates from across the country say they hope to reveal the humanity of those people whose lives hang in the balance.\u003c/p>\n\u003cp>On July 16, 2014, U.S. District Judge Cormac J. Carney ruled that California’s death penalty violates the U.S. Constitution’s ban on cruel and unusual punishment because it is arbitrary and plagued with delays. But that decision was overturned on Nov. 12, 2015, on technical grounds, which means executions could potentially move forward. The last execution in the state was in 2006.\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/237170725″&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/237170725″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.windowsondeathrow.com/incarceratedart/#/kevin-cooper/\" target=\"_blank\">Kevin Cooper\u003c/a> has been on death row in San Quentin State Prison for 30 years. He’s on a short list of at least 17 death row inmates who have exhausted their appeals and would be the first to be put to death if executions resume in California. He spends much of his day in his cell.\u003c/p>\n\u003cp>“I live in a cage that is 4½ feet wide by 11 feet long,” Cooper says. “And everything that I do within this cage I do mostly to stay sane. But I have a TV, a typewriter, my art supplies and my books.”\u003c/p>\n\u003cfigure id=\"attachment_10790891\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10790891 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers.jpg\" alt=\"\" width=\"1920\" height=\"1206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-1440x905.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/KevinCooperWOrganizers-960x603.jpg 960w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin death row inmate Kevin Cooper (C), with ‘Windows on Death Row’ organizers Patrick Chappatte (L) and Anne Widmann. \u003ccite>(Courtesy Patrick Chappatte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a tray slot in the door where guards pass him his meals or a cellphone. In 1985, Cooper was convicted of murdering four people in the Chino Hills area of Southern California. \u003ca href=\"http://articles.latimes.com/2010/jan/03/local/la-me-kevincooper3-2010jan03\" target=\"_blank\">His case is controversial\u003c/a>. People have marched to have him executed, while others have protested to demand his release. He has always maintained his innocence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2004, Cooper was scheduled to be executed. Less than four hours before he was set to receive a lethal injection, it was postponed to allow for more DNA testing, which still failed to exonerate him. Still, he’s become a figurehead in the movement to abolish the death penalty.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I knew after I survived that stuff that my life wasn’t my own no more, that it belonged to this movement. And I’ve been involved in this movement for a very long time. And that is where I get my strength,” Cooper says.\u003c/p>\n\u003cp>Cooper is one of a couple dozen inmate artists represented in “\u003ca href=\"http://www.windowsondeathrow.com/\">Windows on Death Row\u003c/a>,” an exhibition at the University of Southern California. His acrylic paintings draw connections between slavery and prison labor. One, called “It’s a Generation Thing in America,” shows three black men — a grandfather, father and son — all wearing prison uniforms. Another piece, “Free Me,” shows a man cupping his hand to his mouth and shouting.\u003c/p>\n\u003cfigure id=\"attachment_10790938\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10790938\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/CooperFreeMe.jpg\" alt=\"Kevin Cooper's "Free Me," part of the "Windows on Death Row" exhibition.\" width=\"1920\" height=\"2425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-400x505.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-800x1010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-768x970.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-1440x1819.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-1180x1490.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/12/CooperFreeMe-960x1213.jpg 960w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Cooper’s “Free Me,” part of the “Windows on Death Row” exhibition. \u003ccite>(Courtesy Kevin Cooper/Windows on Death Row)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sometimes when you’re in a place like this and you tell people certain things, it’s just like they don’t hear. You have to scream it,” Cooper says. “And sometimes when you scream, they still don’t hear you.”\u003c/p>\n\u003cp>“Windows on Death Row” was organized by a Swiss couple: Patrick Chappatte, a political cartoonist for the International New York Times, and TV journalist and documentary filmmaker Anne Widmann. Chappatte says they wanted to reveal the humanity of the inmates.\u003c/p>\n\u003cp>“And that’s what is a bit unsettling, might be unsettling for some viewers, because death row is a place, is a forgotten place where we put, as a society we put people that are seen as monsters, and we don’t pay attention to what’s going on there. And what you see through the art is actually, you see beauty, you see human emotions,” Chappatte said.\u003c/p>\n\u003cp>Over 70 framed drawings and paintings line the walls. Some of those include political cartoons submitted by Chappatte’s fellow cartoonists. All the pieces in the show are critical of capital punishment. Chappatte said he reached out to conservative cartoonists but they, too, were against capital punishment.\u003c/p>\n\u003cp>“One of the cartoonists says that he’s describing in one of his cartoons that he was for death penalty, then changed his mind. Another of the conservative cartoonists told me, ‘You know what, I’m pro-life all the way, so I’m anti-abortion and anti-death penalty,’ ” Chappatte recalls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cartoonist who changed his mind about the death penalty is Jack Ohman, editorial cartoonist for the Sacramento Bee and president of the Association of American Editorial Cartoonists.\u003c/p>\n\u003cp>“I don’t want to be executing somebody who — even if they had committed the crime — I don’t think that sends the right signal. As a society, if you’re saying killing is wrong, killing is wrong. We shouldn’t be killing,” Ohman says.\u003c/p>\n\u003cp>Widmann says “Windows on Death Row” is not about taking sides between criminals and victims. She points out that the group “Murder Victims’ Families for Human Rights” is one of the show’s sponsors. But she does want visitors to think about how race and class factor into how likely defendants are to be sentenced to death.\u003c/p>\n\u003cp>“I mean, look at this system. It’s broken. I mean, how come terrible murderers are not on death row, and how come some are? How come some people have money to hire great lawyers, and how come others don’t?” Widmann says. “It has nothing to do with empathy with criminals, you see what I mean?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Windows on Death Row” will travel to North Carolina and Ohio after it closes in Los Angeles on Dec. 18.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Jose Lights Up the Night with Psychedelic Public Art",
"headTitle": "San Jose Lights Up the Night with Psychedelic Public Art | KQED",
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/237161579″ 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>Bemoaning the 4:50 p.m. sunset these days? Then head to San Jose, where a series of new interactive, illuminated public artworks will brighten the dark winter nights. The city unveiled the pieces Friday at the light-level appropriate time of 5 p.m.\u003c/p>\n\u003cp>A veteran of the public art world, Seattle-based \u003ca href=\"http://dancorson.com/\" target=\"_blank\" rel=\"noopener\">Dan Corson\u003c/a> has two new projected installations \u003ci>Sensing YOU\u003c/i> and \u003ci>Sensing WATER\u003c/i> under Highway 87 at Santa Clara and San Fernando Streets. The dynamic — some say, \u003ca href=\"http://blog.sfgate.com/matierandross/2015/12/09/san-jose-seeks-respect-with-psychedelic-underpasses/\" target=\"_blank\" rel=\"noopener\">psychedelic\u003c/a> — projections change in response to pedestrian traffic and the water level of the Guadalupe River, respectively.\u003c/p>\n\u003cfigure id=\"attachment_11152051\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11152051\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/exploded-model-e1449779021185.png\" alt=\"Steve Durie and Bruce Gardner, 'San Carlos Lantern Relay' design rendering.\" width=\"640\" height=\"405\">\u003cfigcaption class=\"wp-caption-text\">Steve Durie and Bruce Gardner, ‘San Carlos Lantern Relay’ design rendering. \u003ccite>(Courtesy: the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003ca href=\"http://dma.sjsu.edu/steve/lumileds/\" target=\"_blank\" rel=\"noopener\">San Carlos Street Lantern Relay\u003c/a>\u003c/i>, designed by San Jose-based team Steve Durie and Bruce Gardner, appears on San Carlos St from Market through Fourth Streets as a series of eight interactive lanterns on lampposts. Buttons at street level allow pedestrians to play with and alter the patterns of the lanterns’ LED light displays.\u003c/p>\n\u003cp>A similar bit of hands-on interaction is now possible with artist Jim Conti’s \u003ci>\u003ca href=\"https://www.sanjoseca.gov/DocumentCenter/View/45799\" target=\"_blank\" rel=\"noopener\">Show Your Stripes\u003c/a>\u003c/i> (2008), a light installation on the facade of The 88 at Second and San Fernando Streets. A new set of program codes added to the work allows the public to “dial in” a light display of their choice via their cell phones, with \u003ca href=\"http://www.sanjoseculture.org/DocumentCenter/View/45503\" target=\"_blank\" rel=\"noopener\">over 300 options\u003c/a> ranging from “Questionable Weather” to “Slow Purple Fruit.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The “Illuminating Downtown” program is part of an effort to make San Jose look, feel and act more like the “Capital of Silicon Valley,” says public arts director Jennifer Easton of San Jose’s Office of Cultural Affairs. “We can’t just define ourselves through the businesses that are here,” Easton says. “We want to reflect ourselves and art is a great way to do it.”\u003c/p>\n\u003cp>In recent years, cities have capitalized on the festive feel of illuminated artworks. 2015 marks the third year of \u003ca href=\"http://illuminatesf.com/home-page\" target=\"_blank\" rel=\"noopener\">Illuminate SF Festival of Light\u003c/a>, an initiative organized by the San Francisco’s travel association to display existing light-based public artworks. Illuminate SF features tours and other experiences, and runs Thanksgiving through New Year’s Day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Easton encourages people to come out and explore San Jose’s increasingly illuminated downtown: “Enjoy some light,” she says. “Why not?”\u003c/p>\n\n",
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"excerpt": "The city of San Jose unveils three interactive, illuminated public artworks this evening. ",
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"title": "San Jose Lights Up the Night with Psychedelic Public Art | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/237161579″&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/237161579″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Bemoaning the 4:50 p.m. sunset these days? Then head to San Jose, where a series of new interactive, illuminated public artworks will brighten the dark winter nights. The city unveiled the pieces Friday at the light-level appropriate time of 5 p.m.\u003c/p>\n\u003cp>A veteran of the public art world, Seattle-based \u003ca href=\"http://dancorson.com/\" target=\"_blank\" rel=\"noopener\">Dan Corson\u003c/a> has two new projected installations \u003ci>Sensing YOU\u003c/i> and \u003ci>Sensing WATER\u003c/i> under Highway 87 at Santa Clara and San Fernando Streets. The dynamic — some say, \u003ca href=\"http://blog.sfgate.com/matierandross/2015/12/09/san-jose-seeks-respect-with-psychedelic-underpasses/\" target=\"_blank\" rel=\"noopener\">psychedelic\u003c/a> — projections change in response to pedestrian traffic and the water level of the Guadalupe River, respectively.\u003c/p>\n\u003cfigure id=\"attachment_11152051\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11152051\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/exploded-model-e1449779021185.png\" alt=\"Steve Durie and Bruce Gardner, 'San Carlos Lantern Relay' design rendering.\" width=\"640\" height=\"405\">\u003cfigcaption class=\"wp-caption-text\">Steve Durie and Bruce Gardner, ‘San Carlos Lantern Relay’ design rendering. \u003ccite>(Courtesy: the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003ca href=\"http://dma.sjsu.edu/steve/lumileds/\" target=\"_blank\" rel=\"noopener\">San Carlos Street Lantern Relay\u003c/a>\u003c/i>, designed by San Jose-based team Steve Durie and Bruce Gardner, appears on San Carlos St from Market through Fourth Streets as a series of eight interactive lanterns on lampposts. Buttons at street level allow pedestrians to play with and alter the patterns of the lanterns’ LED light displays.\u003c/p>\n\u003cp>A similar bit of hands-on interaction is now possible with artist Jim Conti’s \u003ci>\u003ca href=\"https://www.sanjoseca.gov/DocumentCenter/View/45799\" target=\"_blank\" rel=\"noopener\">Show Your Stripes\u003c/a>\u003c/i> (2008), a light installation on the facade of The 88 at Second and San Fernando Streets. A new set of program codes added to the work allows the public to “dial in” a light display of their choice via their cell phones, with \u003ca href=\"http://www.sanjoseculture.org/DocumentCenter/View/45503\" target=\"_blank\" rel=\"noopener\">over 300 options\u003c/a> ranging from “Questionable Weather” to “Slow Purple Fruit.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The “Illuminating Downtown” program is part of an effort to make San Jose look, feel and act more like the “Capital of Silicon Valley,” says public arts director Jennifer Easton of San Jose’s Office of Cultural Affairs. “We can’t just define ourselves through the businesses that are here,” Easton says. “We want to reflect ourselves and art is a great way to do it.”\u003c/p>\n\u003cp>In recent years, cities have capitalized on the festive feel of illuminated artworks. 2015 marks the third year of \u003ca href=\"http://illuminatesf.com/home-page\" target=\"_blank\" rel=\"noopener\">Illuminate SF Festival of Light\u003c/a>, an initiative organized by the San Francisco’s travel association to display existing light-based public artworks. Illuminate SF features tours and other experiences, and runs Thanksgiving through New Year’s Day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Easton encourages people to come out and explore San Jose’s increasingly illuminated downtown: “Enjoy some light,” she says. “Why not?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 2014, the Wu-Tang Clan turned a double album into lost treasure.\u003c/p>\n\u003cp>\u003cem>Once Upon A Time In Shaolin \u003c/em>was heard, in its 31-track entirety, only by Wu-Tang Clan leader RZA and producer Cilvaringz.\u003c/p>\n\u003cp>They vowed to sell just a single copy — with a seven-digit price tag. They destroyed all duplicates and placed the only extant version in a hand-carved silver and nickel box, along with a 174-page leather-bound book of lyrics, anecdotes and credits.\u003c/p>\n\u003cp>They threw in a $55,000 pair of speakers and a “gold-leafed certificate of authenticity,” according to \u003ca href=\"http://scluzay.com/\">the album’s Web site\u003c/a>. They teased the music world with sneak listens. And they added a provision: The buyer couldn’t release the album commercially for 88 years after purchase.\u003c/p>\n\u003cp>Then they locked the whole thing in the vault of a luxury hotel in Marrakech, Morocco, set it up on \u003ca href=\"https://paddle8.com/wu-tang/\">an online auction house\u003c/a>, and waited to see who would buy the world’s most expensive, most exclusive album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some fans \u003ca href=\"https://www.kickstarter.com/projects/1308696559/once-upon-a-time-in-shaolin-for-wu-fans-for-wu-peo\" target=\"_blank\" rel=\"noopener\">attempted to crowdfund\u003c/a> the purchase of the album, so it could stay in the hands of non-wealthy, true believers. Instead, the album reportedly sold for millions to a secret purchaser.\u003c/p>\n\u003cp>\u003ca href=\"http://www.fuse.tv/2014/03/wu-tang-clan-secret-album\" target=\"_blank\" rel=\"noopener\">Some\u003c/a> had \u003ca href=\"http://noisey.vice.com/blog/did-quentin-tarantino-buy-the-wu-tang-clans-album\" target=\"_blank\" rel=\"noopener\">theorized\u003c/a> that Quentin Tarantino — super-wealthy Wu-Tang super-fan — was the most likely buyer.\u003c/p>\n\u003cp>Or maybe Richard Branson, who once \u003ca href=\"http://www.forbes.com/sites/zackomalleygreenburg/2014/05/06/unlocking-the-wu-tang-clans-secret-album-in-morocco/\" target=\"_blank\" rel=\"noopener\">called it\u003c/a> a “really fun idea” and could certainly afford it. RZA himself once \u003ca href=\"http://grantland.com/hollywood-prospectus/we-went-there-the-first-and-last-chance-to-hear-wu-tangs-once-upon-a-time-in-shaolin-for-88-years/\" target=\"_blank\" rel=\"noopener\">expressed the hope\u003c/a> that the Virgin mogul would buy the album and fly it into space.\u003c/p>\n\u003cp>But on Wednesday, Bloomberg Business broke the hearts (and fanned the fury) of Wu-Tang Clan fans around the world.\u003c/p>\n\u003cp>The buyer, \u003ca href=\"http://www.bloomberg.com/features/2015-martin-shkreli-wu-tang-clan-album/\" target=\"_blank\" rel=\"noopener\">they revealed\u003c/a>, was infamous, price-gouging pharmaceutical executive Martin Shkreli — and he hadn’t even bothered to listen to it.\u003c/p>\n\u003cp>Shkreli is the 32-year-old CEO whose company, Turing Pharmaceuticals, recently purchased the rights to a drug used to treat a deadly parasitic infection and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/09/22/442684570/pharmaceutical-firms-back-off-big-price-hikes-following-critical-coverage\" target=\"_blank\" rel=\"noopener\">raised the price\u003c/a> 5,000 percent, from $13 a pill to $750. The resulting backlash brought attention to pharmaceutical price hikes in general, a debate that’s now being played out in \u003ca href=\"http://www.npr.org/sections/health-shots/2015/12/09/458976680/senate-questions-egregious-price-hikes-for-specialty-medicines\" target=\"_blank\" rel=\"noopener\">Senate hearings\u003c/a>.\u003c/p>\n\u003cp>The sale of \u003cem>Shaolin\u003c/em> had already gone through when news of the price-gouging hit, Bloomberg reports. After the “business practices came to light,” RZA told Bloomberg, the group donated some of his payment to charity.\u003c/p>\n\u003cp>Now that Shkreli has achieved ignominy, though, he’s hardly a pariah in the musical world: He’s hired Fetty Wap to perform at his company’s Christmas party.\u003c/p>\n\u003cp>It wasn’t hard, he told Bloomberg: “At the right price, these guys basically will do anything.”\u003c/p>\n\u003cfigure id=\"attachment_11149507\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1180x811.jpg\" alt=\"AIDS activists and others carry an image of Turing Pharmaceuticals CEO Martin Shkreli and signs decrying "Pharma greed" during a protest Oct. 1. Shkreli's company bought an antiparasitic drug and increased the price 5,000 percent.\" width=\"640\" height=\"440\" class=\"size-large wp-image-11149507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1920x1319.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-960x659.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">AIDS activists and others carry an image of Turing Pharmaceuticals CEO Martin Shkreli and signs decrying “Pharma greed” during a protest Oct. 1. Shkreli’s company bought an antiparasitic drug and increased the price 5,000 percent. \u003ccite>(Photo: Craig Ruttle/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But back to the Wu-Tang Clan. Bloomberg Business notes that Shkreli is a fan, of sorts:\u003c/p>\n\u003cblockquote>\n\u003cp>“Shkreli was taken by the Wu-Tang song \u003cem>C.R.E.A.M.\u003c/em>, which stands for ‘Cash Rules Everything Around Me.’ It includes the often-repeated phrase ‘Dolla dolla bill, y’all!’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>It wasn’t fandom that drove his purchase, though. Shkreli liked the idea that owning the album would give him an in with celebrities and rappers, he told Bloomberg.\u003c/p>\n\u003cp>He didn’t listen to excerpts meant to verify the purchase — he had an employee check for him. And he reportedly still hasn’t played the album. He tells Bloomberg Business he might consider putting it on … if Taylor Swift wants to come over and hear it with him.\u003c/p>\n\u003cp>Some on social media have suggested another strategy for the pharma exec:\u003c/p>\n\u003cp>https://twitter.com/dylanlscott/status/674601290727493632\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Read the whole story \u003ca href=\"http://www.bloomberg.com/features/2015-martin-shkreli-wu-tang-clan-album/\" target=\"_blank\" rel=\"noopener\">at Bloomberg\u003c/a>.\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Sole+Copy+Of+Latest+Wu-Tang+Album+Was+Sold+To+%27Pharma+Bro%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2014, the Wu-Tang Clan turned a double album into lost treasure.\u003c/p>\n\u003cp>\u003cem>Once Upon A Time In Shaolin \u003c/em>was heard, in its 31-track entirety, only by Wu-Tang Clan leader RZA and producer Cilvaringz.\u003c/p>\n\u003cp>They vowed to sell just a single copy — with a seven-digit price tag. They destroyed all duplicates and placed the only extant version in a hand-carved silver and nickel box, along with a 174-page leather-bound book of lyrics, anecdotes and credits.\u003c/p>\n\u003cp>They threw in a $55,000 pair of speakers and a “gold-leafed certificate of authenticity,” according to \u003ca href=\"http://scluzay.com/\">the album’s Web site\u003c/a>. They teased the music world with sneak listens. And they added a provision: The buyer couldn’t release the album commercially for 88 years after purchase.\u003c/p>\n\u003cp>Then they locked the whole thing in the vault of a luxury hotel in Marrakech, Morocco, set it up on \u003ca href=\"https://paddle8.com/wu-tang/\">an online auction house\u003c/a>, and waited to see who would buy the world’s most expensive, most exclusive album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some fans \u003ca href=\"https://www.kickstarter.com/projects/1308696559/once-upon-a-time-in-shaolin-for-wu-fans-for-wu-peo\" target=\"_blank\" rel=\"noopener\">attempted to crowdfund\u003c/a> the purchase of the album, so it could stay in the hands of non-wealthy, true believers. Instead, the album reportedly sold for millions to a secret purchaser.\u003c/p>\n\u003cp>\u003ca href=\"http://www.fuse.tv/2014/03/wu-tang-clan-secret-album\" target=\"_blank\" rel=\"noopener\">Some\u003c/a> had \u003ca href=\"http://noisey.vice.com/blog/did-quentin-tarantino-buy-the-wu-tang-clans-album\" target=\"_blank\" rel=\"noopener\">theorized\u003c/a> that Quentin Tarantino — super-wealthy Wu-Tang super-fan — was the most likely buyer.\u003c/p>\n\u003cp>Or maybe Richard Branson, who once \u003ca href=\"http://www.forbes.com/sites/zackomalleygreenburg/2014/05/06/unlocking-the-wu-tang-clans-secret-album-in-morocco/\" target=\"_blank\" rel=\"noopener\">called it\u003c/a> a “really fun idea” and could certainly afford it. RZA himself once \u003ca href=\"http://grantland.com/hollywood-prospectus/we-went-there-the-first-and-last-chance-to-hear-wu-tangs-once-upon-a-time-in-shaolin-for-88-years/\" target=\"_blank\" rel=\"noopener\">expressed the hope\u003c/a> that the Virgin mogul would buy the album and fly it into space.\u003c/p>\n\u003cp>But on Wednesday, Bloomberg Business broke the hearts (and fanned the fury) of Wu-Tang Clan fans around the world.\u003c/p>\n\u003cp>The buyer, \u003ca href=\"http://www.bloomberg.com/features/2015-martin-shkreli-wu-tang-clan-album/\" target=\"_blank\" rel=\"noopener\">they revealed\u003c/a>, was infamous, price-gouging pharmaceutical executive Martin Shkreli — and he hadn’t even bothered to listen to it.\u003c/p>\n\u003cp>Shkreli is the 32-year-old CEO whose company, Turing Pharmaceuticals, recently purchased the rights to a drug used to treat a deadly parasitic infection and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/09/22/442684570/pharmaceutical-firms-back-off-big-price-hikes-following-critical-coverage\" target=\"_blank\" rel=\"noopener\">raised the price\u003c/a> 5,000 percent, from $13 a pill to $750. The resulting backlash brought attention to pharmaceutical price hikes in general, a debate that’s now being played out in \u003ca href=\"http://www.npr.org/sections/health-shots/2015/12/09/458976680/senate-questions-egregious-price-hikes-for-specialty-medicines\" target=\"_blank\" rel=\"noopener\">Senate hearings\u003c/a>.\u003c/p>\n\u003cp>The sale of \u003cem>Shaolin\u003c/em> had already gone through when news of the price-gouging hit, Bloomberg reports. After the “business practices came to light,” RZA told Bloomberg, the group donated some of his payment to charity.\u003c/p>\n\u003cp>Now that Shkreli has achieved ignominy, though, he’s hardly a pariah in the musical world: He’s hired Fetty Wap to perform at his company’s Christmas party.\u003c/p>\n\u003cp>It wasn’t hard, he told Bloomberg: “At the right price, these guys basically will do anything.”\u003c/p>\n\u003cfigure id=\"attachment_11149507\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1180x811.jpg\" alt=\"AIDS activists and others carry an image of Turing Pharmaceuticals CEO Martin Shkreli and signs decrying "Pharma greed" during a protest Oct. 1. Shkreli's company bought an antiparasitic drug and increased the price 5,000 percent.\" width=\"640\" height=\"440\" class=\"size-large wp-image-11149507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1920x1319.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-960x659.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">AIDS activists and others carry an image of Turing Pharmaceuticals CEO Martin Shkreli and signs decrying “Pharma greed” during a protest Oct. 1. Shkreli’s company bought an antiparasitic drug and increased the price 5,000 percent. \u003ccite>(Photo: Craig Ruttle/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But back to the Wu-Tang Clan. Bloomberg Business notes that Shkreli is a fan, of sorts:\u003c/p>\n\u003cblockquote>\n\u003cp>“Shkreli was taken by the Wu-Tang song \u003cem>C.R.E.A.M.\u003c/em>, which stands for ‘Cash Rules Everything Around Me.’ It includes the often-repeated phrase ‘Dolla dolla bill, y’all!’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>It wasn’t fandom that drove his purchase, though. Shkreli liked the idea that owning the album would give him an in with celebrities and rappers, he told Bloomberg.\u003c/p>\n\u003cp>He didn’t listen to excerpts meant to verify the purchase — he had an employee check for him. And he reportedly still hasn’t played the album. He tells Bloomberg Business he might consider putting it on … if Taylor Swift wants to come over and hear it with him.\u003c/p>\n\u003cp>Some on social media have suggested another strategy for the pharma exec:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Read the whole story \u003ca href=\"http://www.bloomberg.com/features/2015-martin-shkreli-wu-tang-clan-album/\" target=\"_blank\" rel=\"noopener\">at Bloomberg\u003c/a>.\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Sole+Copy+Of+Latest+Wu-Tang+Album+Was+Sold+To+%27Pharma+Bro%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>John Trudell, the Native American activist whose long pursuit of justice for indigenous peoples included writing, lectures, music, acting and organizing, died Tuesday night in Mountain View, Calif. He was 69.\u003c/p>\n\u003cp>In early December, it was announced that Trudell had entered the final stages of terminal cancer. According to those close to Trudell’s family, a small gathering and ceremony took place Tuesday at his home.\u003c/p>\n\u003cfigure id=\"attachment_11148713\" class=\"wp-caption alignright\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman.jpg\" alt=\"John Trudell's 'A.K.A. Grafitti Man.'\" width=\"392\" height=\"400\" class=\"size-full wp-image-11148713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman-64x64.jpg 64w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">John Trudell’s ‘A.K.A. Grafitti Man.’\u003c/figcaption>\u003c/figure>\n\u003cp>Born to a Santee Sioux father and Mexican mother, Trudell grew up near the Santee reservation in Omaha, Neb. before joining the Navy in 1963 and serving in Vietnam. In 1969, Trudell joined the United Indians of All Tribes’ occupation of Alcatraz Island, serving as spokesperson. Throughout the 1970s, the FBI kept a file on Trudell that reportedly exceeded 17,000 pages.\u003c/p>\n\u003cp>Trudell’s life took a tragic turn on Feb. 11, 1979, when suspected arson burned his home on Nevada’s Duck Valley Reservation. His mother-in-law, his three young children and his wife, pregnant with their fourth child, all died in the fire. For years, Trudell maintained involvement in the fire by the U.S. government, who ruled it an electrical accident.\u003c/p>\n\u003cp>In the 1980s and 1990s, Trudell released a number of acclaimed albums, including \u003cem>A.K.A. Grafitti Man\u003c/em>, with friends and supporters Jackson Browne, Kris Kristofferson and Bonnie Raitt. Trudell also appeared in the films \u003cem>Thunderheart\u003c/em> (1992), \u003cem>On Deadly Ground\u003c/em> (1995) and \u003cem>Smoke Signals\u003c/em> (1998), and was the subject of the 2005 documentary \u003cem>Trudell\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Memorial services have not been announced as of press time.\u003c/p>\n\u003cp>\u003ci>Watch Trudell in 1970, speaking with KQED News about the occupation of Alcatraz:\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"630\" height=\"730\" src=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187785\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>John Trudell, the Native American activist whose long pursuit of justice for indigenous peoples included writing, lectures, music, acting and organizing, died Tuesday night in Mountain View, Calif. He was 69.\u003c/p>\n\u003cp>In early December, it was announced that Trudell had entered the final stages of terminal cancer. According to those close to Trudell’s family, a small gathering and ceremony took place Tuesday at his home.\u003c/p>\n\u003cfigure id=\"attachment_11148713\" class=\"wp-caption alignright\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman.jpg\" alt=\"John Trudell's 'A.K.A. Grafitti Man.'\" width=\"392\" height=\"400\" class=\"size-full wp-image-11148713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman-64x64.jpg 64w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">John Trudell’s ‘A.K.A. Grafitti Man.’\u003c/figcaption>\u003c/figure>\n\u003cp>Born to a Santee Sioux father and Mexican mother, Trudell grew up near the Santee reservation in Omaha, Neb. before joining the Navy in 1963 and serving in Vietnam. In 1969, Trudell joined the United Indians of All Tribes’ occupation of Alcatraz Island, serving as spokesperson. Throughout the 1970s, the FBI kept a file on Trudell that reportedly exceeded 17,000 pages.\u003c/p>\n\u003cp>Trudell’s life took a tragic turn on Feb. 11, 1979, when suspected arson burned his home on Nevada’s Duck Valley Reservation. His mother-in-law, his three young children and his wife, pregnant with their fourth child, all died in the fire. For years, Trudell maintained involvement in the fire by the U.S. government, who ruled it an electrical accident.\u003c/p>\n\u003cp>In the 1980s and 1990s, Trudell released a number of acclaimed albums, including \u003cem>A.K.A. Grafitti Man\u003c/em>, with friends and supporters Jackson Browne, Kris Kristofferson and Bonnie Raitt. Trudell also appeared in the films \u003cem>Thunderheart\u003c/em> (1992), \u003cem>On Deadly Ground\u003c/em> (1995) and \u003cem>Smoke Signals\u003c/em> (1998), and was the subject of the 2005 documentary \u003cem>Trudell\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At one time San Francisco’s Le Video could arguably be hailed as the \u003ca href=\"http://time.com/45720/the-best-video-store-in-the-world-is-doing-a-hail-mary-to-reinvent-itself/\">world’s best video store\u003c/a>. That argument — if anyone was still having it — ended last month, because Le Video went out of business.\u003c/p>\n\u003cp>Among the ever-diminishing coterie of cinephiles who still depend solely on physical media for their narrative needs, this was a sad event. Only a handful of video stores remain in the city. Actually, more like a clawful — it’s \u003ca href=\"http://ww2.kqed.org/arts/2015/10/15/will-the-last-sf-video-store-please-remember-to-rewind/\" target=\"_blank\" rel=\"noopener\">down to like three\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”g86z6nZcWuX3br7qs7CtIsqbBGomV36T”]One of the issues around Le Video’s demise was what would happen to its insanely vast collection of roughly 90,000 titles. The store’s owner, Catherine Tchen, has been in prolonged negotiations with Alamo Drafthouse CEO Tim League to buy its inventory and keep it intact. Otherwise, Tchen said, she would have to sell it off piecemeal to collectors and the public.\u003c/p>\n\u003cp>Tchen said several times over the past few months that she thought the Alamo deal was dead, even \u003ca href=\"http://ww2.kqed.org/arts/2015/10/15/will-the-last-sf-video-store-please-remember-to-rewind/\" target=\"_blank\" rel=\"noopener\">telling me in October\u003c/a> the announcement was imminent that Le Video renters would soon get first crack at buying up its titles.\u003c/p>\n\u003cp>But 11th-hour negotiations ensued, apparently. Today, Alamo announced that it, along with Megan Ellison’s Annapurna Pictures, was providing access to “portions” of the Le Video archive. Alamo said it would partner with another struggling San Francisco video store, Lost Weekend, to rent the Le Video titles, along with some from Lost Weekend as well. Those films will be available at the new Alamo Drafthouse, which opens in the Mission on Dec. 17 with a showing of the latest “Star Wars” movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Despite the fact that great video stores like Le Video are closing all over the country, I am confident that a new iteration of the video store experience can exist, and even thrive today,” said League in a press release. “A passionate video store clerk can do what no algorithm can. They can recommend your new favorite movie, one that can’t be predicted from your past viewing habits.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post was updated to reflect Annapurna Pictures’ involvement in the deal.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At one time San Francisco’s Le Video could arguably be hailed as the \u003ca href=\"http://time.com/45720/the-best-video-store-in-the-world-is-doing-a-hail-mary-to-reinvent-itself/\">world’s best video store\u003c/a>. That argument — if anyone was still having it — ended last month, because Le Video went out of business.\u003c/p>\n\u003cp>Among the ever-diminishing coterie of cinephiles who still depend solely on physical media for their narrative needs, this was a sad event. Only a handful of video stores remain in the city. Actually, more like a clawful — it’s \u003ca href=\"http://ww2.kqed.org/arts/2015/10/15/will-the-last-sf-video-store-please-remember-to-rewind/\" target=\"_blank\" rel=\"noopener\">down to like three\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>One of the issues around Le Video’s demise was what would happen to its insanely vast collection of roughly 90,000 titles. The store’s owner, Catherine Tchen, has been in prolonged negotiations with Alamo Drafthouse CEO Tim League to buy its inventory and keep it intact. Otherwise, Tchen said, she would have to sell it off piecemeal to collectors and the public.\u003c/p>\n\u003cp>Tchen said several times over the past few months that she thought the Alamo deal was dead, even \u003ca href=\"http://ww2.kqed.org/arts/2015/10/15/will-the-last-sf-video-store-please-remember-to-rewind/\" target=\"_blank\" rel=\"noopener\">telling me in October\u003c/a> the announcement was imminent that Le Video renters would soon get first crack at buying up its titles.\u003c/p>\n\u003cp>But 11th-hour negotiations ensued, apparently. Today, Alamo announced that it, along with Megan Ellison’s Annapurna Pictures, was providing access to “portions” of the Le Video archive. Alamo said it would partner with another struggling San Francisco video store, Lost Weekend, to rent the Le Video titles, along with some from Lost Weekend as well. Those films will be available at the new Alamo Drafthouse, which opens in the Mission on Dec. 17 with a showing of the latest “Star Wars” movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "All Gloria Steinem Wants For Christmas Is an Apology From Donald Trump",
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"content": "\u003cp>Oh, Gloria. We didn't know it was possible to love you more.\u003c/p>\n\u003cp>Then you go ahead and call out Donald Trump, Uber, and a culture that polices women's reproductive health more stringently than deadly weapons -- all in one sweet, succinct Facebook post.\u003c/p>\n\u003cp>The feminist icon, activist, and bestselling author of (most recently) the memoir \u003cem>My Life on the Road \u003c/em>posted a wish list to her Facebook page yesterday. Titled \"Top Ten Things I Want For Christmas,\" it includes a scathing Trump-Hitler comparison, a reference to the \"great gift\" and lessons of the Black Lives Matter movement, and some straight-up shaming of Uber for their failings when it comes to disabled customers.\u003c/p>\n\u003cp>Take it away, Gloria (click \"see more\" for the whole post):\u003c/p>\n\u003cp>https://www.facebook.com/GloriaSteinem/posts/10153129748542854\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And here's our favorite make-believe godmother \u003ca href=\"http://www.kqed.org/a/forum/R201511101000\">on Forum last month\u003c/a>, for good measure.\u003c/p>\n\n",
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"excerpt": "Gun control and socially responsible policies from Uber wouldn't hurt, though. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oh, Gloria. We didn't know it was possible to love you more.\u003c/p>\n\u003cp>Then you go ahead and call out Donald Trump, Uber, and a culture that polices women's reproductive health more stringently than deadly weapons -- all in one sweet, succinct Facebook post.\u003c/p>\n\u003cp>The feminist icon, activist, and bestselling author of (most recently) the memoir \u003cem>My Life on the Road \u003c/em>posted a wish list to her Facebook page yesterday. Titled \"Top Ten Things I Want For Christmas,\" it includes a scathing Trump-Hitler comparison, a reference to the \"great gift\" and lessons of the Black Lives Matter movement, and some straight-up shaming of Uber for their failings when it comes to disabled customers.\u003c/p>\n\u003cp>Take it away, Gloria (click \"see more\" for the whole post):\u003c/p>\n\u003cp>https://www.facebook.com/GloriaSteinem/posts/10153129748542854\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Kicking off its 50th year, the National Endowment for the Arts (NEA) announced on Tuesday that it was awarding $27 million in grants to American art organizations, with $2,085,000 going to groups in the Bay Area.\u003c/p>\n\u003cp>In its first 50 years, the NEA has reportedly provided \u003ca href=\"https://www.arts.gov/news/2015/27-million-awarded-arts-projects\" target=\"_blank\" rel=\"noopener\">more than $5 billion in grants\u003c/a> to arts organizations in every state. This year, the endowment is supporting well over 1,100 projects, with many of them located right here in the Bay Area.\u003c/p>\n\u003cp>The local organizations receiving funds range from long-established theater companies like Berkeley Rep, to experimental dance troupes like Project Bandaloop to audio recording programs like Women’s Audio Mission. \u003c/p>\n\u003cp>Below is all of the Bay Area organizations that will be receiving \u003ca href=\"https://www.arts.gov/sites/default/files/Fall_2015_State_grant_list.pdf\" target=\"_blank\" rel=\"noopener\">NEA grants in 2016\u003c/a>. (According to the NEA, some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of Dec. 1, 2015.) \u003c/p>\n\u003ch3>\nBerkeley Repertory Theatre (aka Berkeley Rep)\u003c/h3>\n\u003ch5>$50,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the creation and development of new work in The Ground Floor Center program. The Center encompasses Berkeley Rep’s efforts to sustain and develop relationships with both emerging and mature artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project will include commissions, workshops, and a summer residency lab. The laboratory space will allow nontraditional artists to take risks in developing groundbreaking work on a large scale and will offer a flexible and supportive environment for artists to work collaboratively across disciplines. By inviting the audience and community into the creative process, the theater maintains an ongoing conversation about the emerging work.\u003c/p>\n\u003ch3>Gamelan Sekar Jaya\u003c/h3>\n\u003ch5>$20,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support Artists-in-Residence from Bali, Indonesia. Guest artists, including composers and a choreographer, will create and direct new work exploring and celebrating artistic precision embedded within Balinese arts. In addition to performing in concerts and offering workshops to the public, the resident artists will work closely with the musicians of Gamelan Sekar Jaya to refine and maintain important classic Balinese works.\u003c/p>\n\u003ch3>Kala Institute (aka Kala Art Institute)\u003c/h3>\n\u003ch5>$10,000 Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE: \u003c/strong>Artist Communities\u003cbr>\nTo support residencies and related activities. National and international artists will be provided the time and materials to work in book arts, electronic/digital media, installation, photography, and printmaking. The new bodies of work will be presented through exhibitions, performances, and public programs.\u003c/p>\n\u003ch3>National Film Preserve, Ltd. (aka Telluride Film Festival)\u003c/h3>\n\u003ch5>$50,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the Telluride Film Festival. Held during Labor Day weekend, the event includes the presentation of feature-length and short films from the United States and abroad as well as panel discussions, retrospectives, and educational programs. Recent festivals have included the premieres of films such as \u003cem>12 Years A Slave\u003c/em>, \u003cem>The Act of Killing\u003c/em>, \u003cem>Gravity\u003c/em>, \u003cem>Pina,\u003c/em> \u003cem>Argo\u003c/em>, and \u003cem>Birdman\u003c/em>. Held each year in Telluride, Colorado, the festival is devoted to promoting the discovery of new trends and directions in film as well as to unveil lost masterpieces and unheralded artists of the past. Festival programming will also include free public events such as daytime seminars and interviews with filmmakers.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley\u003c/h3>\n\u003ch5>$10,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support Cinema Mon Amour, a curated exhibition series. Presented at the Pacific Film Archives in downtown Berkeley, the series will invite acclaimed filmmakers and Bay Area artists to present films that have inspired and influenced them. Potential artists include Jane Campion, Daniel Clowes, and Jean-Marie Teno.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley (On behalf of Berkeley Art Museum)\u003c/h3>\n\u003ch5>$30,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Museum\u003cbr>\nTo support public programs for an exhibition about architecture and life’s experiences. These programs will reflect the content of an inaugural exhibition \u003cem>Architecture of Life\u003c/em>, that examines the transformative nature of art and architecture against the backdrop of the Berkeley Art Museum’s new downtown building. Works by artists and architects in the exhibition include George Ault, Marcel Duchamp, Lee Bontecou, Louise Bourgeois,Buckminster Fuller, Diller Scofidio + Renfro and many others. Lectures, gallery talks, art-making workshops, school and family programs, and live performances are among the public programs that will engage audiences.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley (On behalf of Cal Performances)\u003c/h3>\n\u003ch5>$35,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music/Imagine Your Parks\u003cbr>\nTo support the Cal Performances’ Saint Louis Symphony residency and a collaboration with the Trust for Public Land, an Imagine Your Parks project. Cal Performances will present the Saint Louis Symphony with Music Director David Robertson in a multi-day residency on the Berkeley, California campus, which will be anchored by a performance of French composer Olivier Messiaen’s “Des canyons aux etoiles… (From the canyons to the stars…),” a work commissioned by Alice Tully in 1971 for the bicentennial celebration of the United States of America. The performance will be accompanied by a visual installation by landscape photographer Deborah O’Grady designed to capture the grandeur of Utah’s desert landscapes. A co-commission with Los Angeles Philharmonic, Saint Louis Symphony Orchestra, Sydney Symphony Orchestra, and Washington Performing Arts, the performance will celebrate the centenary of the National Park Service. Using Cal Performances’ model of artistic literacy, staff will engage local middle- and high school students in a creative process inspired by Messiaen’s work and the landscape photography of Ms. O’Grady. The Trust will document and disseminate the process and the work online.\u003c/p>\n\u003ch3>Healdsburg Jazz Festival, Inc. (aka Healdsburg Jazz)\u003c/h3>\n\u003ch5>$20,000 (Healdsburg, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Oceans of Time: A Journey Through the Music of Billy “Jabali” Hart component of the Healdsburg Jazz Festival. The two-day mini-festival will celebrate the diverse career, creative vision, and impact of drummer Billy Hart. Proposed programming includes a reunion of Hart with his pioneering Enhance and Quest ensembles as well as performances by his Oceans of Time group and his current quartet with pianist Ethan Iverson, Ben Street, and Mark Turner. Other participating artists may include NEA Jazz Master Dave Liebman as well as Geri Allen, Steve Coleman, Mark Feldman, Eddie Henderson, Dave Holland, Oliver Lake, Billy Harper, and other musicians Hart has performed with throughout his career.\u003c/p>\n\u003ch3>Marin Theatre Company (aka MTC)\u003c/h3>\n\u003ch5>$20,000 (Mill Valley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “Swimmers” by Rachel Bonds. The play is set in a business industrial park and its plot travels up the floors of an office building in which no one does any work. The news of a sexual harassment case quickly ascends the building’s 11 floors and eventually ends up on the roof. As the details of the situation become more ambiguous and surreal, coyotes howl in the distance and the end of the world may be nigh. \u003cem>Swimmers\u003c/em> will feature a multicultural cast and will mark Bonds’ premiere as a playwright in California’s Bay Area.\u003c/p>\n\u003ch3>AXIS Dance Company (aka AXIS)\u003c/h3>\n\u003ch5>$20,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support Dance Access Education and Outreach programs in the Bay Area and on a national tour. AXIS will offer a variety of events for youth and adults with and without disabilities who are based locally and nationally.\u003c/p>\n\u003cp>Project activities may include dance classes, school assemblies, a dance camp for youth, teacher training, and a dance apprentice program for students with spinal cord injuries. Additional activities may comprise workshops for emerging choreographers and professional dancers, community workshops, lecture-demonstrations, and presentations. A new program that will be offered locally and while on tour will include open rehearsals and movement experience for veterans.\u003c/p>\n\u003ch3>Destiny Arts Center (aka Destiny Arts)\u003c/h3>\n\u003ch5>$20,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support Destiny Arts Youth Performance Company’s collaboration with professional dancers, choreographers, and theater artists, culminating in dance theater productions that express life challenges and aspirations. Productions will combine hip-hop, modern, and aerial dance with acting and dramatic recitation. The project will support rehearsals leading up to a spring performance as well as auditions, retreat, and rehearsal for a fall performance. Students will have many opportunities to perform in self-produced concerts, conferences, festivals, and other community venues.\u003c/p>\n\u003ch3>East Bay Performing Arts (aka Oakland East Bay Symphony)\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE: Music\u003c/strong>\u003cbr>\nTo support the creation and premiere of a new work by composer Van-Anh Vanessa Vo performed by Oakland Symphony with related educational activities. The work, titled “Notes from Vietnam” will be scored for orchestra and dan tranh, a traditional Vietnamese zither. The premiere will feature the composer as soloist. Communityevents may include workshops on Vietnamese culture and traditional music instruments as well as performances by the composer’s dan tranh zither students.\u003c/p>\n\u003ch3>International Society for the Arts, Sciences and Technology (aka Leonardo)\u003c/h3>\n\u003ch5>$15,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities\u003cbr>\nTo support residencies for artists and scientists. Artists whose works are inspired by mathematics or scientific disciplines will connect with scientists who are involved in art-related research and/or who are artist themselves at Leonardo. Previously, Santa Cruz choreographer mathematician/educator Karl Schaffer collaborated with Spanish physicist Guillermo Munoz to create a new dance based on string polyhedra. Additional activities will include presentations of the residents’ work in public forums, as well as the publication of their work in an international journal and online.\u003c/p>\n\u003ch3>Kitka, Inc. (aka Kitka Women’s Vocal Ensemble)\u003c/h3>\n\u003ch5>$15,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the creation and presentation of “Iron Shoes.” The ensemble will work in collaboration with stage director/choreographer Erika Chong Shuch and members of her dance-theater company The ESP Project, as well as composer Janet Kutulas and production designer Allen Willner, to create a multidisciplinary piece inspired by Eastern European fairy tales. The artists will explore themes of female empowerment and disempowerment, confinement and mobility, youth and age, daily life and dreams, and the relationship to self.\u003c/p>\n\u003ch3>Living Jazz\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support: In the Name of Love, the 14th Musical Tribute Honoring Dr. Martin Luther King, Jr. The tribute will include the Oakland Interfaith Gospel Choir and the Oakland Children’s Community Choir, as well as proposed vocalists Paula West, Terrance Kelly, Patti Cathcart, Zoe Ellis, and Destani Wolff, specializing in the performance of jazz and gospel music. The event, intended to serve a predominantly African-American community, will also include a tribute to vocalist, pianist, and composer Nina Simone. \u003c/p>\n\u003ch3>Oakland Interfaith Gospel Choir, Inc. (aka OIGC)\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a free gospel concert featuring pianist, composer, and arranger Dr. Edwin Hawkins, with related outreach. The project, intended to serve economically disadvantaged, primarily African-American residents, will feature the world premiere of “I Ain’t Here To Stay,” a new vocal suite about African-American male slave experiences, influenced by traditional spirituals and composed by vocalist Terrance Kelly. Hawkins will also premiere his own new compositions and conduct a performance that will include gospel choirs such as the Arcata Interfaith Gospel Choir, the Universal Gospel Choir, the Portland Interfaith Gospel Choir, the Limon Interfaith Gospel Choir, the SKRUK choir, and the Total Experience Gospel Choir. Associated outreach activities\u003cbr>\nwill include workshops and panel discussions covering composition, choir management, organizational growth, board development, and performance techniques for choirs and solo vocalists. \u003c/p>\n\u003ch3>Project Bandaloop (aka BANDALOOP)\u003c/h3>\n\u003ch5>$30,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance/Imagine Your Parks\u003cbr>\nTo support the creation and presentation of a dance work to commemorate the National Park Service’s centennial, an Imagine Your Parks project. Coyote Waltzes by Artistic Director Amelia Rudolph will explore the Native American myth of the trickster coyote through dances. The work will be performed on mountains in Yosemite National Park. Young performers from Oakland’s Destiny Arts will be involved in the execution of the work. The company also will work with Yosemite staff to connect the next generation of park stewards to its mission, introducing them to environmental responsibility and conservation through the project. The work will be presented to the public through social media platforms and livestreaming. BANDALOOP also plans to share\u003cbr>\nthe work through interactive projections of the performance on city buildings. “Coyote Waltzes” will culminate in a performance on the Great Wall in Oakland.\u003c/p>\n\u003ch3>Youth Radio\u003c/h3>\n\u003ch5>$60,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Arts Pathway initiative for youth. Participating students from underserved communities will receive mentoring from professional artists, develop platforms to distribute their art at the community and national level, and operate downtown Oakland’s only storefront youth arts center (known as 1719 Broadway). Works created in the Arts Pathway program will be presented to public audiences, displayed in public spaces, and distributed through a national media network.\u003c/p>\n\u003ch3>East Bay Center for the Performing Arts\u003c/h3>\n\u003ch5>$65,000 (Richmond, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Young Artist Diploma Program. The project is a multi-year dance, media, music, and theater training program for middle and high school students from underserved communities in west Contra Costa County. Professional artists will teach ongoing group classes and individual lessons that will take place in the Iron Triangle Neighborhood of Richmond, California. In addition to Western art forms (classical music, ballet, jazz, contemporary dance, hip-hop, voice), instruction is also offered in the music and dance of Mexico, West Africa, and Laos, and the Caribbean. After the fourth year, some students can continue to be involved in the program as paid teaching assistants, mentoring younger students. The participating students will receive individual coaching and increased opportunities for solo and small ensemble performances at a wide variety of community and professional events.\u003c/p>\n\u003ch3>Each One Reach One\u003c/h3>\n\u003ch5>$20,000 (S. San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Playwriting Workshops. The program will provide arts education services to incarcerated teenagers. Each workshop cycle will provide as many as ten, three-hour sessions to detainees who will be mentored one-on-one to create and develop one-act plays. Workshops will take place inside San Francisco’s\u003cbr>\nJuvenile Justice Center, the Success Center of the San Francisco Youth Summer Program, the San Mateo County Youth Services Center, and Camp Kemp for Girls. Participants will learn how to articulate a dramatic narrative, explore conflict through dialogue, create characters, and how to write a dramatic climax and resolution. Each\u003cbr>\nworkshop will culminate with the reading of participants’ plays by professional actors before an audience of parents, peers, teachers, probation officers, and invited members of the public.\u003c/p>\n\u003ch3>3rd I South Asian Independent Film (aka 3rd i Films)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support the San Francisco International South Asian Film Festival. The festival will screen full-length features, documentaries, and short films by independent South Asian filmmakers from the United States, India, Pakistan, Bangladesh, Sri Lanka, Canada, and Europe. The festival’s focus – its screenings, media artist presentations, and panel discussion – is intended to offer a diverse range of perspectives on the lives of South Asian people in places through the world.\u003c/p>\n\u003ch3>Asian American Women Artists Association (aka AAWAA)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a multidisciplinary art exhibition inspired by the life and work of Japanese-American civil rights leader Yuri Kochiyama. The exhibition will feature invited and juror-selected emerging and established artists from around the country. Priority outreach will be focused on Asian- and Pacific Islander-American, AfricanAmerican,\u003cbr>\nand Latino communities, but the exhibition will be open to artists of all ethnicities and genders. Exhibition programming will include a panel discussion. The primary exhibition site will be SOMArts Culture Center in San Francisco, with a smaller satellite exhibition held in Oakland.\u003c/p>\n\u003ch3>Bay Area Video Coalition, Inc. (aka BAVC)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the provision of video and audio preservation services. Through the Preservation Access Program, the Bay Area Video Coalition will work with media artists and cultural organizations to ensure that artistically significant works are preserved and made available to the public for live and online exhibitions. Approximately\u003cbr>\n300 hours of audiovisual material as well as media in early digital formats are expected to be preserved. Recent clients include The Other Minds Music Festival, Dance Theatre of Harlem, The Poetry Center and American Poetry Archive, and Video Data Bank.\u003c/p>\n\u003ch3>Bayview Hunters Point Center for Arts & Technology (aka BAYCAT)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the BAYCAT Youth Powered Media Program. Students will develop skills such as artistic expression, critical thinking, and effective communication, while receiving comprehensive instruction in digital media arts technology. As youth media producers, students will collaborate to create programming for the award-winning, youth-created TV show, “Zoom In.”.\u003c/p>\n\u003ch3>Center for Asian American Media (aka CAAM)\n\u003ch3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003c/h3>\u003c/h3>\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support CAAMFest 2016, a media arts festival showcasing the work of Asian and Asian-American artists. Held in San Francisco, Berkley, Oakland, and San Jose, the festival features film, music, and digital media as well as live events and multimedia performances. Festival programming will include screenings from the filmmaking workshop “Muslim Youth Voices” and works portraying untold stories of Asian and Asian-American experience.\u003c/p>\n\u003ch3>Center for the Art of Translation\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Literature\u003cbr>\nTo support the publication and promotion of print and electronic versions of the journal “Two Lines,” as well as books in translation. Dedicated to building an audience for world writing, the journal often features writers who are well known in their own languages but unknown in English. Books selected for publication will highlight the ethnic, cultural, and gender diversity of international literature.\u003c/p>\n\u003ch3>Community Music Center (aka CMC)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Young Musicians Program (YMP). This free program for diverse middle and high school students from underserved communities focuses on a variety of musical styles including Latin, Jazz, popular, and classical. The Mission District YMP is a bilingual program primarily for Latino youth and focuses on repertoire and skills\u003cbr>\nfundamental to Latin traditional and popular music. YMP works with students nominated by their public school music teachers to study chamber music, jazz, and string orchestra. The project also provides group classes in chamber music, jazz and string orchestra, and theory and music history to advanced students. Each component provides multiple community-based performance opportunities for youth.\u003c/p>\n\u003ch3>CounterPulse\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the CounterPULSE Artist Residency and Commissioning (ARC) Program. The program will identify local emerging and mid-career choreographers whose work is ready to be appreciated by a larger audience. CounterPULSE will provide space and support for those artists to create new dances. During the residency, some of the artists will develop, teach, and perform new works. Other artists will be commissioned to continue developing their works into full length world premieres. Residency tracks include Edge, focusing on contemporary work; Performing Diaspora, focusing on culturally specific work on the edge of tradition; and Combustible, focusing on innovative and culturally engaged work. Activities may also include dance workshops for the public taught by the artists-in-residence, and work-in-progress showings where residents and the public provide feedback on the work. The residencies will culminate in a fully produced premiere of the works, which will run during two weeks.\u003c/p>\n\u003ch3>Crowded Fire Theater Company (aka Crowded Fire)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “On a Wonderverse” by Geetha Reddy. The second in Reddy’s trilogy of plays inspired by Hindu mythology, the play centers on the deity Shiva the Destroyer. The work also explores the intersection between physics, women in science, and Hindu mythology. Set at CERN’s (the European Council for Nuclear Research) Large Hadron Collider in Switzerland, a brilliant young physicist Alpheratz Schen leads a research team, but is overlooked when her male co-author receives the coveted Nobel Prize. Her frustration leads to another discovery that has the potential to unleash critical insight into the origins of life. The theater may partner with California Girls in STEM at The Lawrence Hall of Science as well as the Stanford branch of Tech Trek, a science camp for eighth-grade girls, to create conversations between the artists and young women around the issues in the play.\u003c/p>\n\u003ch3>Cutting Ball Theater\u003c/h3>\n\n\u003cp>$10,000 (San Francisco, CA)\n\u003c/p>\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the development and premiere of “Ondine” by Katharine Sherman. Based on an ancient mermaid myth that inspired Jean Giraudoux’s seminal 1938 work of the same title and Hans Christian Andersen’s \u003cem>The Little Mermaid\u003c/em>, Sherman’s \u003cem>Ondine\u003c/em> is a contemporary retelling of the story of a water spirit who comes to land\u003cbr>\nto be with her lover. The production will be directed by Founding Artistic Director Rob Melrose. The playwright will be in residence in San Francisco for the duration of the rehearsal period leading up to the world premiere production.\u003c/p>\n\u003ch3>Exploratorium\u003c/h3>\n\u003ch5>$40,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of multidisciplinary works and performances celebrating the importance of light to the arts. Using items such as emulsion, film, lenses, mirrors, projectors, and screens, artists will create work that illuminates the physics of light that are fundamental to their creative practices. Exploratorium stresses that a transparent creative process and experiential learning will lead to a meaningful understanding of the project’s complex theme.\u003c/p>\n\u003ch3>Eyes and Ears Foundation (aka San Francisco International Arts Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support international artists at the San Francisco International Arts Festival. The festival will feature a variety of performances by artists from the Bay Area and approximately 10 different countries. Artist fees, per diems, hotel costs and legal fees to support international artists performing at the San Francisco Arts Festival.\u003c/p>\n\u003ch3>Fort Mason Center\u003c/h3>\n\u003cp>$20,000 San Francisco, CA\u003cbr>\nFIELD/DISCIPLINE: Presenting & Multidisciplinary Works/Imagine Your Parks\u003cbr>\nTo support \u003cem>The Rainbow: Certain Principles of Light and Shapes Between Forms\u003c/em>, an Imagine Your Parks project. The Fort Mason Center will project a dense waterwall created by installation artist Michael Jones McKean at timed intervals to reveal a rainbow over the center’s three piers that extend into the San Francisco\u003cbr>\nBay. An accompanying exhibition created by McKean will include historical objects from the area. Fort Mason Center is located within the Golden Gate National Recreation Area, part of the National Park Service.\u003c/p>\n\u003ch3>Frameline (aka San Francisco International LGBT Film Festival)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the presentation and expansion of Frameline Encore, a year-round film exhibition program. All screenings are free. This year, the San Francisco International LGBT Film Festival program will include continued expansion to locations in Oakland, Berkeley, and surrounding areas in the East Bay. Feature-length and short film programs representing the LGBTQ community will be shown at each venue.\u003c/p>\n\u003ch3>Garrett Moulton Productions (aka Garrett Moulton Productions)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of an evening-length work, by Co-Artistic Directors Janice Garrett and Charles Moulton. Titled \u003ci>To Hear the Angels Sing,\u003c/i> the work will explore the themes of transcendence and hope, and will be a large-scale new work comprised of Garret + Moulton’s six company dancers; an 18-dancer\u003cbr>\n“movement choir;” a chorus of 12 singers who will be integrated into the stage action; and an ensemble of eight musicians. The work will premiere at the Yerba Buena Center for the Arts in San Francisco and will include open rehearsals and post-show question-and-answer sessions.\u003c/p>\n\u003ch3>Golden Thread Productions\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “The Most Dangerous Highway in the World” by Kevin Artigue, and the West Coast premiere of \u003ci>Our Enemies: Lively Scenes of Love and Combat\u003c/i> by Yussef El Guindi. Set on the Jalalabad-Kabul Highway in Afghanistan. Artigue’s play portrays a precocious nine-year-old “business man” who survives by\u003cbr>\nselling old fish to truck drivers and the random passersby. Through humor and with poignant honesty, the playwright creates a world that is both foreign and familiar. \u003c/p>\n\u003cp>The production will introduce a new theatrical voice and will deepen the theater’s relationship with the Bay Area’s Afghan population. Golden Thread has served as an artistic home for Arab-American playwright El Guindi for more than 15 years. The theater will produce the second production of his play about the politics of representation in the publishing industry.\u003c/p>\n\u003ch3>Idris Ackamoor & Cultural Odyssey (aka Cultural Odyssey)\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the creation and production of \u003cem>When Did Your Hands Become a Weapon\u003c/em>. Cultural Odyssey CoArtistic Director Rhodessa Jones, who is also the director of the Media Project: Theater for Incarcerated Women, will collaborate with the Women’s HIV Program at the University of San Francisco Medical Center to develop a\u003cbr>\nmusical theater work focusing on the issues of violence and addiction. The Media Project uses the performing arts to work with female inmates and ex-inmates. Jones will utilize its longstanding method to empower women currently living in the community with HIV. Community forums will share information on HIV and encourage women living with the disease to develop supportive networks, overcome additions, and to leave abusive partners.\u003c/p>\n\u003ch3>inkBoat, Inc. (aka inkBoat)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works/Imagine Your Parks\u003cbr>\nTo support the creation and presentation of “The Monster and the Hero” an Imagine Your Parks project. inkBoat will collaborate with the theater company We Players and the Rova Saxophone Quartet to create a new multidisciplinary work inspired by \u003cem>Beowulf\u003c/em>. Working in the San Francisco Maritime National Historical Park and adjacent Fort Mason, the artists will draw inspiration from the National Park Service sites, including Coast Miwok people settlements, U.S. military history, and historic ships. Workshop performances will be open to the public leading up to the premiere of the site-specific work.\u003c/p>\n\u003ch3>Joe Goode Performance Group\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of a new work by choreographer Joe Goode. The work will be performed to an original score by French string quartet Quatuor. Goode’s inspiration for the work is the French village Oradour-sur-Glane, which was completely demolished during the Nazi occupation of France. Goode and his company will interview residents of the village and their responses to the work will become verbatim text incorporated in the work. The work will premiere in San Francisco after its premiere in France during the Festival du Haut Limousin.\u003c/p>\n\u003ch3>Kitchen Sisters Productions (aka The Kitchen Sisters)\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support distribution of the podcast Fugitive Waves. Incorporating a documentary archive of interviews, music, field recordings, and audio, the program is devoted to telling little-known stories of culture, ritual, and tradition. Archival works will be digitized, prepared for distribution, and public access to the program will offered through the podcast and additional digital platforms. In 2016, episodes will include features on the lives, history, tradition, food, music, and rituals of Native Americans, Alaskan Natives, and native Hawaiians.\u003c/p>\n\u003ch3>Kronos Performing Arts Association (aka KRONOS QUARTET)\u003c/h3>\n\u003ch5>$40,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cb>FIELD/DISCIPLINE:\u003c/b> Music\u003cbr>\nTo support year one of Fifty for the Future, a commissioning project by the Kronos Quartet. Plans include the creation of five string quartets for players of multiple skill levels (ranging from beginner to pre-professional). Scores, individual parts, and an array of other project materials will be available online at no charge. Premieres of the new works will take place in conjunction with residencies throughout the country. Educational activities will include master classes and workshops.\u003c/p>\n\u003ch3>Kulintang Arts (aka Kularts)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support \u003cem>Mariang Makiling\u003c/em>, a Filipino dance theater production and associated activities. Filipino folkloric choreographer Jay Loyola and musician and composer Florante Aguilar will work with Kularts to develop the piece inspired by Philippine myths and native spirituality. In advance of the public performance, Loyola will present an advanced dance workshop for members of the folkloric dance community.\u003c/p>\n\u003ch3>LEVYdance, Inc. (aka LEVYdance)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support AMP (Artists Maximizing Potential), a program that seeks to innovate the single choreographer dance company model. Choreographer Sara Shelton Mann and her dancers will engage in an eight-week residency to create a new work with LEVYdance. The program will support the artistic process from the research and development phase, to production and touring, and will include a technical residency at ODC Theater. The program will culminate in a performance and tour of the new work.\u003c/p>\n\u003ch3>Lighthouse for the Blind and Visually Impaired (aka LightHouse for the Blind)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support Superfest, an international disability film festival. The festival will showcase multi-genre films complemented by panel discussions with filmmakers, actors, disability leaders, and audience members. The festival will provide assisted listening systems, live captioning, braille, large print programs, and audio description. \u003c/p>\n\u003ch3>Magic Theatre, Inc. (aka Magic Theatre)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Mid-Career Playwright Initiative. Playwright Jessica Hagedorn will be in residence to continue developing her seminal theater work “Dogeaters” and to create an adaptation for the stage of her novel, \u003cem>Gangster of Love\u003c/em>. She may revise the text of \u003cem>Dogeaters\u003c/em> to incorporate additional dialogue in Tagalog to make the play bilingual. The play will be produced for a San Francisco premiere and may feature immersive and interactive design and staging that will allow audiences to access the play’s exuberant and unpredictable world more closely. A possible approach may be transforming a found space in San Francisco’s historically Filipino Tenderloin neighborhood into the underground Manila disco in which the events of the play unfold. Community and student outreach efforts will accompany the production.\u003c/p>\n\u003ch3>Margaret Jenkins Dance Studio, Inc. (aka Margaret Jenkins Dance Company)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of \u003cem>Site Series 2 (Inside Outside)\u003c/em>. Propelled by the vagabond nature of being a performance artist, a metaphor for all of life’s journeys, Margaret Jenkins and her company will choreograph small, site-specific works to be performed in non-traditional spaces, like churches, homes, and museums. The works can be presented as individual vignettes or as a complete evening-length work.\u003c/p>\n\u003ch3>ODC (aka Oberlin Dance Collective)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of new dance works. Co-Artistic Director Brenda Way will choreograph, \u003cem>Walk Back the Cat\u003c/em>, to a commissioned score by composer Paul Drescher, with set design by Alex Nichols. Guest artist Kate Weare will choreograph \u003cem>Criss Cross\u003c/em>. The works will premiere at the Yerba Buena Center for the Arts prior to touring to Chico, California, and White Bird in Portland, Oregon.\u003c/p>\n\u003ch3>ODC Theater\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the ODC Theater Presents program. The project will include The Walking Distance Dance Festival-SF, as well as presentations of Monique Jenkinson’s mini-series, \u003cem>Gender in Transition\u003c/em>, French-Algerian Compagnie Herve Koubi’s \u003cem>What the Day Owes to The Night\u003c/em>, Scott Wells’ and Keith Hennessy’s \u003cem>Touchy Subjects\u003c/em>, RAWdance’s \u003cem>Double Exposure\u003c/em>, and Hope Mohr Dance’s \u003cem>Manifesting\u003c/em>. ODC Theater’s primary mission is to be the West Coast’s premier venue for the contemporary performing arts and a home to nurture artists.\u003c/p>\n\u003ch3>Philharmonia Baroque Orchestra (aka Philharmonia)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support period-instrument performances of an all-Mozart concert program. Under the direction of Music Director Nicholas McGegan, the project will feature guest artist keyboardist Kristian Bezuidenhout, who will perform on the pianoforte. Programming will include such works by Wolfgang Amadeus Mozart as Concerto for\u003cbr>\nFortepiano no. 23 in A major, Symphony No. 27 in G major, and Symphony No. 39 in E-flat major. The project will celebrate Nicholas McGegan’s 30th anniversary as music director of the orchestra.\u003c/p>\n\u003ch3>Playwrights Foundation, Inc. (aka Playwrights Foundation)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Bay Area Playwrights Festival. The festival will include an artistic retreat, studio development of new plays, and publicly staged showings of full-length plays. Festival plays for staged readings will be selected through a competitive submission process. The festival also will present a workshop production of a play in development at a partner theater. Other festival activities will include a young theater-makers event, mentorship for emerging scenic designers, and an industry weekend, during which national new play producers are invited to San Francisco to see the plays.\u003c/p>\n\u003ch3>San Francisco Arts Commission\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Local Arts Agencies\u003cbr>\nTo support Affordable Housing and Sustainable Communities for San Francisco Artists. Working in partnership with the Mayor’s Office of Housing, the Council of Community Housing Organizations, and private developers, the commission will offer comprehensive services integrating outreach, education, individualized support, workshops, peer-support, and access to the municipal services necessary to meet the basic eligibility requirements for affordable housing. Outreach will focus on low- to moderate-income artists to ensure that individuals are aware of the affordable housing options available.\u003c/p>\n\u003ch3>San Francisco Camerawork, Inc. (aka SF Camerawork)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support an exhibition and publication series by emerging and underrepresented national and international artists. The selected artists will receive conceptual, logistical, financial, and administrative support to develop their work. The series will include gallery exhibitions in San Francisco, including public programming and the publication of three accompanying books with critical essays.\u003c/p>\n\u003ch3>San Francisco Contemporary Music Players (aka SFCMP)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support an artist residency project. The ensemble will present a residency, titled \u003cem>X-SCAPE: New Spaces for New Music\u003c/em>, which will explore space in the physical, metaphorical, and poetic sense, at the Z-Space Theater Artaud, in the Mission District of San Francisco. Programming will include works by composers such as David Lang, Gerard Grisey, Marianthi Papalexandri-Alexadri, Zosha DiCastri, Louis Andreissen, and Morton Feldman. Project activities will include educational events, such as pre-concert discussions, artistic director and composer talks open to the public, and student rehearsals with the ensemble.\u003c/p>\n\u003ch3>San Francisco Film Society (aka SFFS)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 59th San Francisco International Film Festival, and other curated film series. Held in the spring, the festival includes films from around the world, educational programs, and live performances. Additional programming throughout the year will include a series devoted to cinema from Hong Kong, and Screenings in Schools, in which students view films and engage with the filmmakers in person or via Skype. In partnership with the San Francisco Museum of Modern Art, SFFS presents a year-round series celebrating established and emerging masters of cinema.\u003c/p>\n\u003ch3>San Francisco Jazz Organization (aka SFJAZZ)\u003c/h3>\n\u003ch5>$45,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the SFJAZZ Collective’s commissioning, development, and performance of new original works by each member and arrangements of music by Michael Jackson. The ensemble will play as many as 18 live concerts on its 2016 national tour and present pre-concert talks, engage in master classes, workshops, school programs, and outreach events in tour cities which will include West Lafayette and Carmel, Indiana; Dubuque, Iowa; Louisville, Kentucky; North Bethesda, Maryland; Boston, Massachusetts; Detroit, Michigan; Saint Louis, Missouri; New York, New York; Pittsburgh, Pennsylvania; as well as Dallas and Houston, Texas. The SFJAZZ Collective members are Obed Calvaire, Robin Eubanks, Sean Jones, Matt Penman, Davis Sanchez, Edward Simon, Warren Wolf, and Miguel Zenon.\u003c/p>\n\u003ch3>San Francisco Jewish Film Festival (aka San Francisco Jewish Film Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 36th San Francisco Jewish Film Festival and related activities. Held in the summer, the festival hosts film screenings, live music, and panel discussions in celebration of Jewish culture and tradition. Recent films screened at the festival included Doug Block’s \u003cem>112 Weddings\u003c/em>, \u003cem>The Green Prince\u003c/em> by Nadav Schirman, and \u003cem>Theodore Bikel: In the Shoes of Sholom Aleichem\u003c/em> by John Lollos.\u003c/p>\n\u003ch3>San Francisco Opera Association (aka San Francisco Opera)\u003c/h3>\n\u003ch5>$90,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Opera\u003cbr>\nTo support the world premiere of \u003cem>Dream of the Red Chamber\u003c/em> by composer Bright Sheng with a libretto by playwright David Henry Hwang and Sheng. The text was written in the 18th century by Cao Xueqin, and is considered one of China’s four great classical novels, telling the story of a heartbreaking and timeless love\u003cbr>\ntriangle. The creative team may include Tony Award-winner David Henry Hwang, playwright and director Stan Lai, Academy Award-winning designer and art director Tim Yip, conductor George Manahan, and contralto Qiu Lin Zhang. Outreach activities will focus on the local and national Chinese-American community, college/university programs in music and Chinese/Asian studies, and cultural institutions in the Bay Area such as the Asian Art Museum of San Francisco. As many as six performances will be presented in the fall of 2016 at the War Memorial Opera House.\u003c/p>\n\u003ch3>San Francisco Performances, Inc. (aka San Francisco Performances)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of music and dance performances. The series will feature performances by pianist Leif Ove Andsnes (Norway), pianist Jonathan Biss, the Brentano String Quartet, Dorrance Dance, the Dover Quartet, pianist Marc-Andre Hamelin (Canada), cellist Harriet Krigjh (The Netherlands), tenor Mark Padmore, Paul Taylor Dance Company, and pianist Javier Perianes (Spain). Educational and outreach activities will include lectures, open rehearsals, and workshops.\u003c/p>\n\u003ch3>San Francisco Symphony (On behalf of San Francisco Symphony Youth Orchestra)\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Artistic Development Program of the San Francisco Symphony Youth Orchestra. Designed to complement the youth orchestra’s core program of weekly rehearsals and concert performances, the free program will provide middle to high school students with coaching, mentorship, and specialized training in chamber music. Students will receive free tickets to San Francisco Symphony performances and participate in master classes with guest artists. In addition to rehearsals with San Francisco Symphony Youth Orchestra Music Director Donato Cabrera, participants will rehearse with San Francisco Symphony Music Director Michael Tilson Thomas.\u003c/p>\n\u003ch3>San Francisco Symphony\u003c/h3>\n\u003ch5>$75,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support a commissioning, performance, and composer residency project. Under the direction of Artistic Director Michael Tilson Thomas, the \u003cem>Mason Bates: Composer in 360\u003c/em> project will feature the world premiere performance of a new work by Bates titled “Auditorium” with guest conductor Pablo Heras-Casado (named Musical America’s 2014 Conductor of the Year). The composer will begin his two-week residency by curating musical evenings in SoundBox, the orchestra’s new performance space located backstage at Davies Symphony Hall. Activities will include community engagements, such as pre-concert lectures and conversations.\u003c/p>\n\u003ch3>Silent Film Festival (aka San Francisco Silent Film Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 21st San Francisco Silent Film Festival. The four-day event showcases silent films with live musical accompaniment at the Castro Theatre in San Francisco. The 2016 festival will celebrate the centennial of a pivotal year in film history – 1916 – with screenings of films made in that year, such as D.W. Griffith’s \u003ci>Intolerance.\u003c/i>\u003c/p>\n\u003ch3>Southern Exposure\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support the commissioning of new work by emerging artists for gallery exhibitions and public art projects. This year-long project will include group exhibitions, public art projects, and additional events and performances highlighting the contemporary art practice of emerging Bay Area artists and art writers. A rotating curatorial committee will select the artists. Participating artists will receive conceptual, logistical, and administrative support to develop their work; a stipend and materials budget; and published essays.\u003c/p>\n\u003ch3>Stern Grove Festival Association (aka Stern Grove Festival)\u003c/h3>\n\u003ch5>$45,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the Stern Grove Festival. The festival will feature free outdoor performances by artists including the San Francisco Symphony and the San Francisco Ballet, as well as world music, pop, and jazz artists. Engagement activities will include hands-on workshops and camps for youth, as well as pre-show arts activities and discussions.\u003c/p>\n\u003ch3>The SF Playhouse (aka San Francisco Playhouse)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Sandbox New Play Program. The program supports playwrights through the commissioning and development of new works. Development opportunities will include a monthly reading series, week-long workshops with professional artists, and the Sandbox Series of world premiere productions. Designed to serve as a bridge between readings and mainstage productions, the program will provide a low-risk environment and community of support in which playwrights can hone their craft. The project will include the world premiere of a new play by Theresa Rebeck as well as a second production of \u003cem>You Mean to Do Me Harm\u003c/em> by Christopher Chen.\u003c/p>\n\u003ch3>Theatre of Yugen, Incorporated (aka Theatre of Yugen at NOHspace)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the development and production of \u003cem>A Play on a Plate\u003c/em>, a theatrical event fusing theater with culinary arts. Developed in collaboration with Japanese chef Nobuaki Fushiki through the company’s Fermentation Lab, the performance will take the form of a theater/dinner pop-up event inspired by the many ways fermentation influences Japanese cuisine. The project will explore the potential of food to bring together diverse communities, including the local corporate community, prominent members of San Francisco’s foodie culture, students, and scientists in the growing biotech industry. The project development period will include educational outreach events and work-in-progress showings.\u003c/p>\n\u003ch3>Women’s Audio Mission (aka WAM)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the expansion of Girls on the Mic: Digital Media Training for Girls. The project is a media arts education program for girls from underserved communities in the Bay Area. Project activities are designed to cultivate the next generation of women media arts and technology experts. Participants will create their own websites, podcasts, music projects, and other media arts projects that mirror professional activities such as creative coding. Students will showcase their work online and share via mobile devices with friends and family.\u003c/p>\n\u003ch3>World Arts West (aka San Francisco Ethnic Dance Festival)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the presentation of the 38th annual San Francisco Ethnic Dance Festival. The festival provides underserved artists with the opportunity to perform in a professional setting. Artistic Directors Carlos Carvajal and CK Ladzekpo will attend dancers’ rehearsals and offer input and guidance, while also creating innovative transitions between dance pieces. After a rigorous audition process, more than 30 Northern California dance ensembles, whose work is rooted in various cultural traditions, will be selected to perform at the festival.\u003c/p>\n\u003ch3>Yerba Buena Arts & Events (aka Yerba Buena Gardens Festival (YBGF))\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the Yerba Buena Gardens Festival. The outdoor series will include world premiere presentations of new works and performances by artists in world music, dance, and Latin jazz, among others. The festival also will include partnerships with other local performing arts organizations.\u003c/p>\n\u003ch3>Zaccho SF (aka Zaccho Dance Theatre)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the second biennial SF Aerial Dance Festival. The festival will bring together aerial dance artists, students, and audiences for a dynamic week of performances, workshops, and discussions. Emerging and established aerial dance choreographers will be featured, including Flyaway Productions, Project BANDALOOP, and Zaccho Dance Theatre. Performances will take place at the historic Fort Mason Center, with workshops happening at the Zaccho Studio in Bayview/Hunter’s Point.\u003c/p>\n\u003ch3>ZYZZYVA, Inc. (aka ZYZZYVA)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Literature\u003cbr>\nTo support the publication and promotion of the journal “ZYZZYVA.” Showcasing the work of acclaimed and emerging West Coast writers, the journal publishes fiction, poetry, nonfiction, and artwork. The journal will be promoted at literary festivals and conferences; additional content, such as original writing and video interviews with contributors, will be made available online.\u003c/p>\n\u003ch3>Firebird Youth Chinese Orchestra\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support the Aimusic International Festival: Intangible Chinese Heritage Celebration. Performers from China and other Asian countries will showcase a variety of traditional Asian operas, as well as offer a seminar on Chinese opera. As many as 20 groups are expected to present performances that will include Kunqu Opera, Peking Opera, Yueju Opera, and Tibetan Opera. Additionally, the Firebird Youth Chinese Orchestra will rehearse special music for the festival and receive training in traditional Chinese customs and etiquette to receive the international artists properly.\u003c/p>\n\u003ch3>Mexican Heritage Corporation (aka VivaFest!)\u003c/h3>\n\u003ch5>$15,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support VivaFest!, the San Jose Mexican Heritage and Mariachi Festival. The project will celebrate the contributions of Mexican Americans and new Latino immigrants to the culture of the U.S. through performances, workshops, and art exhibits. Additionally, the program will offer master classes for mariachi and ballet folklorico.\u003c/p>\n\u003ch3>Movimiento de Arte y Cultura Latino Americana de San Jose, Inc. (aka MACLA)\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater\u003cbr>\nTo support the production of \u003ci>’57 Chevy,\u003c/i> a solo performance piece based on the script by Cris Franco, and associated outreach activities. Ricardo Salinas will perform the autobiographical story about a young man traversing the physical and cultural borders from Mexico City to the United States in the back seat of his father’s\u003cbr>\n1957 Chevrolet. The production will premiere at the Castellano Playhouse and will include performances for area high schools that serve a Latino majority.\u003c/p>\n\u003ch3>Opera Cultura\u003c/h3>\n\u003ch5>$15,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Opera\u003cbr>\nTo support commission, development, and workshop presentations of \u003cem>Bless Me, Ultima\u003c/em> a Mexican-American opera by composer/librettist Hector Armienta. The opera is based on Rudolfo Anaya’s novel of the same title (which is part of the NEA’s Big Read initiative). The story follows a young boy, Antonio, as he comes of age with\u003cbr>\nthe guidance of his curandera (shaman) and protector Ultima. Under her wing, he will probe the family ties that bind and rend him, and discover the magical secrets of the llano (grasslands) and the river. Community engagement activities will include youth writing workshops and a workshop presentation in summer 2017.\u003c/p>\n\u003ch3>San Jose Multicultural Artists Guild Inc. (aka SJMAG)\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support dance performances featuring Lula Washington Dance Theatre, choreographed by Lula Washington, with associated outreach activities. The performances will explore African-American racial identity and experience, merging the choreographer’s reflections about important historical events, such as the Civil Rights Movement, while simultaneously exploring contemporary racial tension within the United States. Associated outreach, intended to benefit economically disadvantaged, primarily African-American students, will also include a student matinee performance, a free workshop, and free transportation for youth participants.\u003c/p>\n\u003ch3>San Jose Museum of Art Association (aka San Jose Museum of Art)\u003c/h3>\n\u003ch5>$45,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Museum\u003cbr>\nTo support an exhibition of new collaborative work by photographer Richard Misrach and composer Guillermo Galindo addressing issues related to the U.S./Mexico border. Titled \u003cem>Bordos Cantos\u003c/em>, the exhibition will juxtapose large-scale photographs by Misrach with musical instruments handcrafted by Galindo from ordinary objects collected along the border. The exhibition will be accompanied by communitywide public programming intended to serve the city’s large immigrant community.\u003c/p>\n\u003ch3>ZeroOne – The Art and Technology Network (aka ZERO1)\u003c/h3>\n\u003ch5>$20,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support the creation of new work by Tahir Hemphill. Hemphill’s solo exhibition, \u003cem>Maximum Distance Minimum Displacement\u003c/em>, builds upon research undertaken at the STUDIO for Creative Inquiry at Carnegie Mellon University. The exhibition will feature new photography, video, and sculptural works, created using data drawn from a linguistic analysis of the work of several well-known rap musicians. The project will include training of teens at the artist’s Rap Research Lab, a studio for the production of creative technology projects and a space to teach art, design, cultural analysis, media criticism, data mining, and data visualization.\u003c/p>\n\u003ch3>Los Cenzontles Mexican Arts Center (aka Los Cenzontles Cultural Academy)\u003c/h3>\n\u003ch5>$35,000 (San Pablo, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support Routes of Resilience. A series of traditional and contemporary Mexican musical performances will be presented to the Mexican-American community. Live performances, web-based videos, and recordings will highlight the immigration experience, illuminating how personal and collective resilience have guided individuals and families through the challenging transitions particular to Mexican-American communities. Some performances will be supplemented with workshops, lecture-demonstrations, film screenings, and discussions.\u003c/p>\n\u003ch3>California Film Institute (aka CFI)\u003c/h3>\n\u003ch5>$30,000 (San Rafael, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 39th Mill Valley Film Festival. The festival will present narrative, documentary, and short American and international independent films. The program also will include panels, master classes, and free daytime screenings for students.\u003c/p>\n\u003ch3>Marin Shakespeare Company\u003c/h3>\n\u003ch5>$10,000 (San Rafael, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support theater workshops at San Quentin State Prison. The workshops for incarcerated veterans, including participants with disabilities, will include the creation and performance of an original theater piece addressing veterans’ issues. Performance artist Andrew Salvage will perform for the workshop participants and will lead sessions on autobiographical playwriting. \u003c/p>\n\u003ch3>Cabrillo Festival of Contemporary Music (aka Cabrillo Music Festival)\u003c/h3>\n\u003ch5>$25,000 (Santa Cruz, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Cabrillo Festival of Contemporary Music. Under the direction of Music Director Marin Alsop, the festival orchestra will perform music by living composers. Festival concerts will be held at the Santa Cruz Civic Auditorium. Other activities will include chamber music concerts, composers-in-residence, and a workshop for conductors and composers. Past composers-in-residence have included Mason Bates, Hannah Lash, and Missy Mazzoli, among many others. Featured programming will include the commissioning and world premiere of a new work by composer Anna Clyne and a collaboration with The Choral Project, a San Jose-based chorus, on its 20th anniversary. Educational and community activities will include open rehearsals, panel discussions, and a street fair.\u003c/p>\n\u003ch3>Kuumbwa Jazz Society (aka Kuumbwa Jazz)\u003c/h3>\n\u003ch5>$15,000 (Santa Cruz, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support a concert series with NEA Jazz Master Charles Lloyd. Plans include several concerts in celebration of the 50th anniversary of Lloyd’s seminal \u003ci>Forest Flower: Live at Monterey\u003c/i> recording. Among the artists slated to perform alongside Lloyd, in differently sized ensembles and a duo-setting, are Jason Moran, Eric Harland, Reuben Rogers, Gerald Clayton, as well as 1999 NEA National Heritage Fellow Zakir Hussein. Members of the Kuumbwa Honor Jazz Band, composed of local high school student musicians, may be invited to observe preperformance sound checks and engage with the artists.\u003c/p>\n\u003ch3>Santa Rosa Symphony Association (aka Santa Rosa Symphony)\u003c/h3>\n\u003ch5>$10,000 (Santa Rosa, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a performance, a workshop, and related outreach activities featuring Venezuelan pianist Gabriela Martinez. The project is intended to serve economically disadvantaged, primarily Latino residents, and Martinez will conduct a free workshop for elementary and middle school violinists, participate in free rehearsals for the\u003cbr>\ncommunity, and offer a bilingual pre-concert talk. Organizations such Big Brothers Big Sisters of the North Bay, the YWCA Sonoma County, California Parenting Institute, the Boys and Girls Club Central Santa Rosa, and Hanna Boys Center – selected for their ties to local, underserved communities – will assist with targeted outreach and free ticket distribution for the main stage performance at the Green Music Center.\u003c/p>\n\u003ch3>Montalvo Association (aka Montalvo Arts Center)\u003c/h3>\n\u003ch5>$15,000 (Saratoga, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities\u003cbr>\nTo support residencies and related activities. Selected emerging and mid-career American artists from diverse disciplines will be offered fully funded residencies. Artists will present their work on-site and in the community through exhibitions and performances, as well as through educational and outreach activities.\u003c/p>\n\u003ch3>Headlands Center for the Arts (aka Headlands)\u003c/h3>\n\u003ch5>$35,000 (Sausalito, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities/Imagine Your Parks\u003cbr>\nTo support artist residencies, an alumni new works program, and an artist commissioning program. Residencies will focus on emerging and mid-career artists. The alumni new works and commissioning programs will offer support for special projects created by past participating artists and local artists. The commissioning program’s goals include supporting and investing in artists whose work will impact the cultural landscape; providing artists with the support to produce a project which might not otherwise happen; and encouraging artists to make work inspired by the Marin Headlands, part of the National Park Service.\u003c/p>\n\u003ch3>Voice of Roma (aka VOR)\u003c/h3>\n\u003ch5>$35,000 (Sebastopol, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support \u003cem>Opre Khetanes! (Rise Up Together!): Romani Culture in Diaspora\u003c/em>. The cultural contributions of the Roma Gypsies will be explored through a symposium and multi-city tour of Romani artists, including 2011 NEA National Heritage Fellow Yuri Yunakov. The tour will begin at New York University and conclude at the Voice of Roma’s annual Herdeljezi Festival in San Francisco.\u003c/p>\n\u003ch3>Stanford Jazz Workshop (aka SJW)\u003c/h3>\n\u003ch5>$20,000 (Stanford, CA)\u003c/h5>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Middle School Jazz Initiative, including Giant Steps Day Camp, Giant Steps Jazz Singers, and Giant Steps Big Band ensemble. This jazz education program enables middle school students to interact with master jazz educators and artists through year-round, weekly after-school instrumental music instruction. The middle\u003cbr>\nschool programs all share the program name “Giant Steps,” to not only indicate the progress the students make as a result of participating, but also refers to the jazz composition, “Giant Steps” by the late John Coltrane. Giant Steps program directors and faculty are selected for their extensive experience and recognized success teaching jazz at the middle school level. Taught at local host school sites and during SJW’s jazz immersion camps in the summer on the Stanford University campus, students follow a personalized curriculum that includes improvisation, jazz styles, ear training, technique, and playing in small and large ensembles. The program culminates in a final public performance at the end of each academic semester and at the end of each week of jazz immersion camp.\u003c/p>\n\n",
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"title": "NEA Awards $27M in Grants for 2016, Over $2M for Bay Area Orgs | KQED",
"description": "Kicking off its 50th year, the National Endowment for the Arts (NEA) announced on Tuesday that it was awarding $27 million in grants to American art organizations, with $2,085,000 going to groups in the Bay Area. In its first 50 years, the NEA has reportedly provided more than $5 billion in grants to arts organizations in every state. This year, the endowment is supporting well over 1,100 projects, with many of them located right here in the Bay Area. The local organizations receiving funds range from long-established theater companies like Berkeley Rep, to experimental dance troupes like Project Bandaloop to",
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"headline": "NEA Awards $27M in Grants for 2016, Over $2M for Bay Area Orgs",
"datePublished": "2015-12-08T16:40:56-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kicking off its 50th year, the National Endowment for the Arts (NEA) announced on Tuesday that it was awarding $27 million in grants to American art organizations, with $2,085,000 going to groups in the Bay Area.\u003c/p>\n\u003cp>In its first 50 years, the NEA has reportedly provided \u003ca href=\"https://www.arts.gov/news/2015/27-million-awarded-arts-projects\" target=\"_blank\" rel=\"noopener\">more than $5 billion in grants\u003c/a> to arts organizations in every state. This year, the endowment is supporting well over 1,100 projects, with many of them located right here in the Bay Area.\u003c/p>\n\u003cp>The local organizations receiving funds range from long-established theater companies like Berkeley Rep, to experimental dance troupes like Project Bandaloop to audio recording programs like Women’s Audio Mission. \u003c/p>\n\u003cp>Below is all of the Bay Area organizations that will be receiving \u003ca href=\"https://www.arts.gov/sites/default/files/Fall_2015_State_grant_list.pdf\" target=\"_blank\" rel=\"noopener\">NEA grants in 2016\u003c/a>. (According to the NEA, some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of Dec. 1, 2015.) \u003c/p>\n\u003ch3>\nBerkeley Repertory Theatre (aka Berkeley Rep)\u003c/h3>\n\u003ch5>$50,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the creation and development of new work in The Ground Floor Center program. The Center encompasses Berkeley Rep’s efforts to sustain and develop relationships with both emerging and mature artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project will include commissions, workshops, and a summer residency lab. The laboratory space will allow nontraditional artists to take risks in developing groundbreaking work on a large scale and will offer a flexible and supportive environment for artists to work collaboratively across disciplines. By inviting the audience and community into the creative process, the theater maintains an ongoing conversation about the emerging work.\u003c/p>\n\u003ch3>Gamelan Sekar Jaya\u003c/h3>\n\u003ch5>$20,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support Artists-in-Residence from Bali, Indonesia. Guest artists, including composers and a choreographer, will create and direct new work exploring and celebrating artistic precision embedded within Balinese arts. In addition to performing in concerts and offering workshops to the public, the resident artists will work closely with the musicians of Gamelan Sekar Jaya to refine and maintain important classic Balinese works.\u003c/p>\n\u003ch3>Kala Institute (aka Kala Art Institute)\u003c/h3>\n\u003ch5>$10,000 Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE: \u003c/strong>Artist Communities\u003cbr>\nTo support residencies and related activities. National and international artists will be provided the time and materials to work in book arts, electronic/digital media, installation, photography, and printmaking. The new bodies of work will be presented through exhibitions, performances, and public programs.\u003c/p>\n\u003ch3>National Film Preserve, Ltd. (aka Telluride Film Festival)\u003c/h3>\n\u003ch5>$50,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the Telluride Film Festival. Held during Labor Day weekend, the event includes the presentation of feature-length and short films from the United States and abroad as well as panel discussions, retrospectives, and educational programs. Recent festivals have included the premieres of films such as \u003cem>12 Years A Slave\u003c/em>, \u003cem>The Act of Killing\u003c/em>, \u003cem>Gravity\u003c/em>, \u003cem>Pina,\u003c/em> \u003cem>Argo\u003c/em>, and \u003cem>Birdman\u003c/em>. Held each year in Telluride, Colorado, the festival is devoted to promoting the discovery of new trends and directions in film as well as to unveil lost masterpieces and unheralded artists of the past. Festival programming will also include free public events such as daytime seminars and interviews with filmmakers.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley\u003c/h3>\n\u003ch5>$10,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support Cinema Mon Amour, a curated exhibition series. Presented at the Pacific Film Archives in downtown Berkeley, the series will invite acclaimed filmmakers and Bay Area artists to present films that have inspired and influenced them. Potential artists include Jane Campion, Daniel Clowes, and Jean-Marie Teno.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley (On behalf of Berkeley Art Museum)\u003c/h3>\n\u003ch5>$30,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Museum\u003cbr>\nTo support public programs for an exhibition about architecture and life’s experiences. These programs will reflect the content of an inaugural exhibition \u003cem>Architecture of Life\u003c/em>, that examines the transformative nature of art and architecture against the backdrop of the Berkeley Art Museum’s new downtown building. Works by artists and architects in the exhibition include George Ault, Marcel Duchamp, Lee Bontecou, Louise Bourgeois,Buckminster Fuller, Diller Scofidio + Renfro and many others. Lectures, gallery talks, art-making workshops, school and family programs, and live performances are among the public programs that will engage audiences.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley (On behalf of Cal Performances)\u003c/h3>\n\u003ch5>$35,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music/Imagine Your Parks\u003cbr>\nTo support the Cal Performances’ Saint Louis Symphony residency and a collaboration with the Trust for Public Land, an Imagine Your Parks project. Cal Performances will present the Saint Louis Symphony with Music Director David Robertson in a multi-day residency on the Berkeley, California campus, which will be anchored by a performance of French composer Olivier Messiaen’s “Des canyons aux etoiles… (From the canyons to the stars…),” a work commissioned by Alice Tully in 1971 for the bicentennial celebration of the United States of America. The performance will be accompanied by a visual installation by landscape photographer Deborah O’Grady designed to capture the grandeur of Utah’s desert landscapes. A co-commission with Los Angeles Philharmonic, Saint Louis Symphony Orchestra, Sydney Symphony Orchestra, and Washington Performing Arts, the performance will celebrate the centenary of the National Park Service. Using Cal Performances’ model of artistic literacy, staff will engage local middle- and high school students in a creative process inspired by Messiaen’s work and the landscape photography of Ms. O’Grady. The Trust will document and disseminate the process and the work online.\u003c/p>\n\u003ch3>Healdsburg Jazz Festival, Inc. (aka Healdsburg Jazz)\u003c/h3>\n\u003ch5>$20,000 (Healdsburg, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Oceans of Time: A Journey Through the Music of Billy “Jabali” Hart component of the Healdsburg Jazz Festival. The two-day mini-festival will celebrate the diverse career, creative vision, and impact of drummer Billy Hart. Proposed programming includes a reunion of Hart with his pioneering Enhance and Quest ensembles as well as performances by his Oceans of Time group and his current quartet with pianist Ethan Iverson, Ben Street, and Mark Turner. Other participating artists may include NEA Jazz Master Dave Liebman as well as Geri Allen, Steve Coleman, Mark Feldman, Eddie Henderson, Dave Holland, Oliver Lake, Billy Harper, and other musicians Hart has performed with throughout his career.\u003c/p>\n\u003ch3>Marin Theatre Company (aka MTC)\u003c/h3>\n\u003ch5>$20,000 (Mill Valley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “Swimmers” by Rachel Bonds. The play is set in a business industrial park and its plot travels up the floors of an office building in which no one does any work. The news of a sexual harassment case quickly ascends the building’s 11 floors and eventually ends up on the roof. As the details of the situation become more ambiguous and surreal, coyotes howl in the distance and the end of the world may be nigh. \u003cem>Swimmers\u003c/em> will feature a multicultural cast and will mark Bonds’ premiere as a playwright in California’s Bay Area.\u003c/p>\n\u003ch3>AXIS Dance Company (aka AXIS)\u003c/h3>\n\u003ch5>$20,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support Dance Access Education and Outreach programs in the Bay Area and on a national tour. AXIS will offer a variety of events for youth and adults with and without disabilities who are based locally and nationally.\u003c/p>\n\u003cp>Project activities may include dance classes, school assemblies, a dance camp for youth, teacher training, and a dance apprentice program for students with spinal cord injuries. Additional activities may comprise workshops for emerging choreographers and professional dancers, community workshops, lecture-demonstrations, and presentations. A new program that will be offered locally and while on tour will include open rehearsals and movement experience for veterans.\u003c/p>\n\u003ch3>Destiny Arts Center (aka Destiny Arts)\u003c/h3>\n\u003ch5>$20,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support Destiny Arts Youth Performance Company’s collaboration with professional dancers, choreographers, and theater artists, culminating in dance theater productions that express life challenges and aspirations. Productions will combine hip-hop, modern, and aerial dance with acting and dramatic recitation. The project will support rehearsals leading up to a spring performance as well as auditions, retreat, and rehearsal for a fall performance. Students will have many opportunities to perform in self-produced concerts, conferences, festivals, and other community venues.\u003c/p>\n\u003ch3>East Bay Performing Arts (aka Oakland East Bay Symphony)\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE: Music\u003c/strong>\u003cbr>\nTo support the creation and premiere of a new work by composer Van-Anh Vanessa Vo performed by Oakland Symphony with related educational activities. The work, titled “Notes from Vietnam” will be scored for orchestra and dan tranh, a traditional Vietnamese zither. The premiere will feature the composer as soloist. Communityevents may include workshops on Vietnamese culture and traditional music instruments as well as performances by the composer’s dan tranh zither students.\u003c/p>\n\u003ch3>International Society for the Arts, Sciences and Technology (aka Leonardo)\u003c/h3>\n\u003ch5>$15,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities\u003cbr>\nTo support residencies for artists and scientists. Artists whose works are inspired by mathematics or scientific disciplines will connect with scientists who are involved in art-related research and/or who are artist themselves at Leonardo. Previously, Santa Cruz choreographer mathematician/educator Karl Schaffer collaborated with Spanish physicist Guillermo Munoz to create a new dance based on string polyhedra. Additional activities will include presentations of the residents’ work in public forums, as well as the publication of their work in an international journal and online.\u003c/p>\n\u003ch3>Kitka, Inc. (aka Kitka Women’s Vocal Ensemble)\u003c/h3>\n\u003ch5>$15,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the creation and presentation of “Iron Shoes.” The ensemble will work in collaboration with stage director/choreographer Erika Chong Shuch and members of her dance-theater company The ESP Project, as well as composer Janet Kutulas and production designer Allen Willner, to create a multidisciplinary piece inspired by Eastern European fairy tales. The artists will explore themes of female empowerment and disempowerment, confinement and mobility, youth and age, daily life and dreams, and the relationship to self.\u003c/p>\n\u003ch3>Living Jazz\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support: In the Name of Love, the 14th Musical Tribute Honoring Dr. Martin Luther King, Jr. The tribute will include the Oakland Interfaith Gospel Choir and the Oakland Children’s Community Choir, as well as proposed vocalists Paula West, Terrance Kelly, Patti Cathcart, Zoe Ellis, and Destani Wolff, specializing in the performance of jazz and gospel music. The event, intended to serve a predominantly African-American community, will also include a tribute to vocalist, pianist, and composer Nina Simone. \u003c/p>\n\u003ch3>Oakland Interfaith Gospel Choir, Inc. (aka OIGC)\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a free gospel concert featuring pianist, composer, and arranger Dr. Edwin Hawkins, with related outreach. The project, intended to serve economically disadvantaged, primarily African-American residents, will feature the world premiere of “I Ain’t Here To Stay,” a new vocal suite about African-American male slave experiences, influenced by traditional spirituals and composed by vocalist Terrance Kelly. Hawkins will also premiere his own new compositions and conduct a performance that will include gospel choirs such as the Arcata Interfaith Gospel Choir, the Universal Gospel Choir, the Portland Interfaith Gospel Choir, the Limon Interfaith Gospel Choir, the SKRUK choir, and the Total Experience Gospel Choir. Associated outreach activities\u003cbr>\nwill include workshops and panel discussions covering composition, choir management, organizational growth, board development, and performance techniques for choirs and solo vocalists. \u003c/p>\n\u003ch3>Project Bandaloop (aka BANDALOOP)\u003c/h3>\n\u003ch5>$30,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance/Imagine Your Parks\u003cbr>\nTo support the creation and presentation of a dance work to commemorate the National Park Service’s centennial, an Imagine Your Parks project. Coyote Waltzes by Artistic Director Amelia Rudolph will explore the Native American myth of the trickster coyote through dances. The work will be performed on mountains in Yosemite National Park. Young performers from Oakland’s Destiny Arts will be involved in the execution of the work. The company also will work with Yosemite staff to connect the next generation of park stewards to its mission, introducing them to environmental responsibility and conservation through the project. The work will be presented to the public through social media platforms and livestreaming. BANDALOOP also plans to share\u003cbr>\nthe work through interactive projections of the performance on city buildings. “Coyote Waltzes” will culminate in a performance on the Great Wall in Oakland.\u003c/p>\n\u003ch3>Youth Radio\u003c/h3>\n\u003ch5>$60,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Arts Pathway initiative for youth. Participating students from underserved communities will receive mentoring from professional artists, develop platforms to distribute their art at the community and national level, and operate downtown Oakland’s only storefront youth arts center (known as 1719 Broadway). Works created in the Arts Pathway program will be presented to public audiences, displayed in public spaces, and distributed through a national media network.\u003c/p>\n\u003ch3>East Bay Center for the Performing Arts\u003c/h3>\n\u003ch5>$65,000 (Richmond, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Young Artist Diploma Program. The project is a multi-year dance, media, music, and theater training program for middle and high school students from underserved communities in west Contra Costa County. Professional artists will teach ongoing group classes and individual lessons that will take place in the Iron Triangle Neighborhood of Richmond, California. In addition to Western art forms (classical music, ballet, jazz, contemporary dance, hip-hop, voice), instruction is also offered in the music and dance of Mexico, West Africa, and Laos, and the Caribbean. After the fourth year, some students can continue to be involved in the program as paid teaching assistants, mentoring younger students. The participating students will receive individual coaching and increased opportunities for solo and small ensemble performances at a wide variety of community and professional events.\u003c/p>\n\u003ch3>Each One Reach One\u003c/h3>\n\u003ch5>$20,000 (S. San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Playwriting Workshops. The program will provide arts education services to incarcerated teenagers. Each workshop cycle will provide as many as ten, three-hour sessions to detainees who will be mentored one-on-one to create and develop one-act plays. Workshops will take place inside San Francisco’s\u003cbr>\nJuvenile Justice Center, the Success Center of the San Francisco Youth Summer Program, the San Mateo County Youth Services Center, and Camp Kemp for Girls. Participants will learn how to articulate a dramatic narrative, explore conflict through dialogue, create characters, and how to write a dramatic climax and resolution. Each\u003cbr>\nworkshop will culminate with the reading of participants’ plays by professional actors before an audience of parents, peers, teachers, probation officers, and invited members of the public.\u003c/p>\n\u003ch3>3rd I South Asian Independent Film (aka 3rd i Films)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support the San Francisco International South Asian Film Festival. The festival will screen full-length features, documentaries, and short films by independent South Asian filmmakers from the United States, India, Pakistan, Bangladesh, Sri Lanka, Canada, and Europe. The festival’s focus – its screenings, media artist presentations, and panel discussion – is intended to offer a diverse range of perspectives on the lives of South Asian people in places through the world.\u003c/p>\n\u003ch3>Asian American Women Artists Association (aka AAWAA)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a multidisciplinary art exhibition inspired by the life and work of Japanese-American civil rights leader Yuri Kochiyama. The exhibition will feature invited and juror-selected emerging and established artists from around the country. Priority outreach will be focused on Asian- and Pacific Islander-American, AfricanAmerican,\u003cbr>\nand Latino communities, but the exhibition will be open to artists of all ethnicities and genders. Exhibition programming will include a panel discussion. The primary exhibition site will be SOMArts Culture Center in San Francisco, with a smaller satellite exhibition held in Oakland.\u003c/p>\n\u003ch3>Bay Area Video Coalition, Inc. (aka BAVC)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the provision of video and audio preservation services. Through the Preservation Access Program, the Bay Area Video Coalition will work with media artists and cultural organizations to ensure that artistically significant works are preserved and made available to the public for live and online exhibitions. Approximately\u003cbr>\n300 hours of audiovisual material as well as media in early digital formats are expected to be preserved. Recent clients include The Other Minds Music Festival, Dance Theatre of Harlem, The Poetry Center and American Poetry Archive, and Video Data Bank.\u003c/p>\n\u003ch3>Bayview Hunters Point Center for Arts & Technology (aka BAYCAT)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the BAYCAT Youth Powered Media Program. Students will develop skills such as artistic expression, critical thinking, and effective communication, while receiving comprehensive instruction in digital media arts technology. As youth media producers, students will collaborate to create programming for the award-winning, youth-created TV show, “Zoom In.”.\u003c/p>\n\u003ch3>Center for Asian American Media (aka CAAM)\n\u003ch3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003c/h3>\u003c/h3>\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support CAAMFest 2016, a media arts festival showcasing the work of Asian and Asian-American artists. Held in San Francisco, Berkley, Oakland, and San Jose, the festival features film, music, and digital media as well as live events and multimedia performances. Festival programming will include screenings from the filmmaking workshop “Muslim Youth Voices” and works portraying untold stories of Asian and Asian-American experience.\u003c/p>\n\u003ch3>Center for the Art of Translation\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Literature\u003cbr>\nTo support the publication and promotion of print and electronic versions of the journal “Two Lines,” as well as books in translation. Dedicated to building an audience for world writing, the journal often features writers who are well known in their own languages but unknown in English. Books selected for publication will highlight the ethnic, cultural, and gender diversity of international literature.\u003c/p>\n\u003ch3>Community Music Center (aka CMC)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Young Musicians Program (YMP). This free program for diverse middle and high school students from underserved communities focuses on a variety of musical styles including Latin, Jazz, popular, and classical. The Mission District YMP is a bilingual program primarily for Latino youth and focuses on repertoire and skills\u003cbr>\nfundamental to Latin traditional and popular music. YMP works with students nominated by their public school music teachers to study chamber music, jazz, and string orchestra. The project also provides group classes in chamber music, jazz and string orchestra, and theory and music history to advanced students. Each component provides multiple community-based performance opportunities for youth.\u003c/p>\n\u003ch3>CounterPulse\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the CounterPULSE Artist Residency and Commissioning (ARC) Program. The program will identify local emerging and mid-career choreographers whose work is ready to be appreciated by a larger audience. CounterPULSE will provide space and support for those artists to create new dances. During the residency, some of the artists will develop, teach, and perform new works. Other artists will be commissioned to continue developing their works into full length world premieres. Residency tracks include Edge, focusing on contemporary work; Performing Diaspora, focusing on culturally specific work on the edge of tradition; and Combustible, focusing on innovative and culturally engaged work. Activities may also include dance workshops for the public taught by the artists-in-residence, and work-in-progress showings where residents and the public provide feedback on the work. The residencies will culminate in a fully produced premiere of the works, which will run during two weeks.\u003c/p>\n\u003ch3>Crowded Fire Theater Company (aka Crowded Fire)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “On a Wonderverse” by Geetha Reddy. The second in Reddy’s trilogy of plays inspired by Hindu mythology, the play centers on the deity Shiva the Destroyer. The work also explores the intersection between physics, women in science, and Hindu mythology. Set at CERN’s (the European Council for Nuclear Research) Large Hadron Collider in Switzerland, a brilliant young physicist Alpheratz Schen leads a research team, but is overlooked when her male co-author receives the coveted Nobel Prize. Her frustration leads to another discovery that has the potential to unleash critical insight into the origins of life. The theater may partner with California Girls in STEM at The Lawrence Hall of Science as well as the Stanford branch of Tech Trek, a science camp for eighth-grade girls, to create conversations between the artists and young women around the issues in the play.\u003c/p>\n\u003ch3>Cutting Ball Theater\u003c/h3>\n\n\u003cp>$10,000 (San Francisco, CA)\n\u003c/p>\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the development and premiere of “Ondine” by Katharine Sherman. Based on an ancient mermaid myth that inspired Jean Giraudoux’s seminal 1938 work of the same title and Hans Christian Andersen’s \u003cem>The Little Mermaid\u003c/em>, Sherman’s \u003cem>Ondine\u003c/em> is a contemporary retelling of the story of a water spirit who comes to land\u003cbr>\nto be with her lover. The production will be directed by Founding Artistic Director Rob Melrose. The playwright will be in residence in San Francisco for the duration of the rehearsal period leading up to the world premiere production.\u003c/p>\n\u003ch3>Exploratorium\u003c/h3>\n\u003ch5>$40,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of multidisciplinary works and performances celebrating the importance of light to the arts. Using items such as emulsion, film, lenses, mirrors, projectors, and screens, artists will create work that illuminates the physics of light that are fundamental to their creative practices. Exploratorium stresses that a transparent creative process and experiential learning will lead to a meaningful understanding of the project’s complex theme.\u003c/p>\n\u003ch3>Eyes and Ears Foundation (aka San Francisco International Arts Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support international artists at the San Francisco International Arts Festival. The festival will feature a variety of performances by artists from the Bay Area and approximately 10 different countries. Artist fees, per diems, hotel costs and legal fees to support international artists performing at the San Francisco Arts Festival.\u003c/p>\n\u003ch3>Fort Mason Center\u003c/h3>\n\u003cp>$20,000 San Francisco, CA\u003cbr>\nFIELD/DISCIPLINE: Presenting & Multidisciplinary Works/Imagine Your Parks\u003cbr>\nTo support \u003cem>The Rainbow: Certain Principles of Light and Shapes Between Forms\u003c/em>, an Imagine Your Parks project. The Fort Mason Center will project a dense waterwall created by installation artist Michael Jones McKean at timed intervals to reveal a rainbow over the center’s three piers that extend into the San Francisco\u003cbr>\nBay. An accompanying exhibition created by McKean will include historical objects from the area. Fort Mason Center is located within the Golden Gate National Recreation Area, part of the National Park Service.\u003c/p>\n\u003ch3>Frameline (aka San Francisco International LGBT Film Festival)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the presentation and expansion of Frameline Encore, a year-round film exhibition program. All screenings are free. This year, the San Francisco International LGBT Film Festival program will include continued expansion to locations in Oakland, Berkeley, and surrounding areas in the East Bay. Feature-length and short film programs representing the LGBTQ community will be shown at each venue.\u003c/p>\n\u003ch3>Garrett Moulton Productions (aka Garrett Moulton Productions)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of an evening-length work, by Co-Artistic Directors Janice Garrett and Charles Moulton. Titled \u003ci>To Hear the Angels Sing,\u003c/i> the work will explore the themes of transcendence and hope, and will be a large-scale new work comprised of Garret + Moulton’s six company dancers; an 18-dancer\u003cbr>\n“movement choir;” a chorus of 12 singers who will be integrated into the stage action; and an ensemble of eight musicians. The work will premiere at the Yerba Buena Center for the Arts in San Francisco and will include open rehearsals and post-show question-and-answer sessions.\u003c/p>\n\u003ch3>Golden Thread Productions\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “The Most Dangerous Highway in the World” by Kevin Artigue, and the West Coast premiere of \u003ci>Our Enemies: Lively Scenes of Love and Combat\u003c/i> by Yussef El Guindi. Set on the Jalalabad-Kabul Highway in Afghanistan. Artigue’s play portrays a precocious nine-year-old “business man” who survives by\u003cbr>\nselling old fish to truck drivers and the random passersby. Through humor and with poignant honesty, the playwright creates a world that is both foreign and familiar. \u003c/p>\n\u003cp>The production will introduce a new theatrical voice and will deepen the theater’s relationship with the Bay Area’s Afghan population. Golden Thread has served as an artistic home for Arab-American playwright El Guindi for more than 15 years. The theater will produce the second production of his play about the politics of representation in the publishing industry.\u003c/p>\n\u003ch3>Idris Ackamoor & Cultural Odyssey (aka Cultural Odyssey)\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the creation and production of \u003cem>When Did Your Hands Become a Weapon\u003c/em>. Cultural Odyssey CoArtistic Director Rhodessa Jones, who is also the director of the Media Project: Theater for Incarcerated Women, will collaborate with the Women’s HIV Program at the University of San Francisco Medical Center to develop a\u003cbr>\nmusical theater work focusing on the issues of violence and addiction. The Media Project uses the performing arts to work with female inmates and ex-inmates. Jones will utilize its longstanding method to empower women currently living in the community with HIV. Community forums will share information on HIV and encourage women living with the disease to develop supportive networks, overcome additions, and to leave abusive partners.\u003c/p>\n\u003ch3>inkBoat, Inc. (aka inkBoat)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works/Imagine Your Parks\u003cbr>\nTo support the creation and presentation of “The Monster and the Hero” an Imagine Your Parks project. inkBoat will collaborate with the theater company We Players and the Rova Saxophone Quartet to create a new multidisciplinary work inspired by \u003cem>Beowulf\u003c/em>. Working in the San Francisco Maritime National Historical Park and adjacent Fort Mason, the artists will draw inspiration from the National Park Service sites, including Coast Miwok people settlements, U.S. military history, and historic ships. Workshop performances will be open to the public leading up to the premiere of the site-specific work.\u003c/p>\n\u003ch3>Joe Goode Performance Group\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of a new work by choreographer Joe Goode. The work will be performed to an original score by French string quartet Quatuor. Goode’s inspiration for the work is the French village Oradour-sur-Glane, which was completely demolished during the Nazi occupation of France. Goode and his company will interview residents of the village and their responses to the work will become verbatim text incorporated in the work. The work will premiere in San Francisco after its premiere in France during the Festival du Haut Limousin.\u003c/p>\n\u003ch3>Kitchen Sisters Productions (aka The Kitchen Sisters)\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support distribution of the podcast Fugitive Waves. Incorporating a documentary archive of interviews, music, field recordings, and audio, the program is devoted to telling little-known stories of culture, ritual, and tradition. Archival works will be digitized, prepared for distribution, and public access to the program will offered through the podcast and additional digital platforms. In 2016, episodes will include features on the lives, history, tradition, food, music, and rituals of Native Americans, Alaskan Natives, and native Hawaiians.\u003c/p>\n\u003ch3>Kronos Performing Arts Association (aka KRONOS QUARTET)\u003c/h3>\n\u003ch5>$40,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cb>FIELD/DISCIPLINE:\u003c/b> Music\u003cbr>\nTo support year one of Fifty for the Future, a commissioning project by the Kronos Quartet. Plans include the creation of five string quartets for players of multiple skill levels (ranging from beginner to pre-professional). Scores, individual parts, and an array of other project materials will be available online at no charge. Premieres of the new works will take place in conjunction with residencies throughout the country. Educational activities will include master classes and workshops.\u003c/p>\n\u003ch3>Kulintang Arts (aka Kularts)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support \u003cem>Mariang Makiling\u003c/em>, a Filipino dance theater production and associated activities. Filipino folkloric choreographer Jay Loyola and musician and composer Florante Aguilar will work with Kularts to develop the piece inspired by Philippine myths and native spirituality. In advance of the public performance, Loyola will present an advanced dance workshop for members of the folkloric dance community.\u003c/p>\n\u003ch3>LEVYdance, Inc. (aka LEVYdance)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support AMP (Artists Maximizing Potential), a program that seeks to innovate the single choreographer dance company model. Choreographer Sara Shelton Mann and her dancers will engage in an eight-week residency to create a new work with LEVYdance. The program will support the artistic process from the research and development phase, to production and touring, and will include a technical residency at ODC Theater. The program will culminate in a performance and tour of the new work.\u003c/p>\n\u003ch3>Lighthouse for the Blind and Visually Impaired (aka LightHouse for the Blind)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support Superfest, an international disability film festival. The festival will showcase multi-genre films complemented by panel discussions with filmmakers, actors, disability leaders, and audience members. The festival will provide assisted listening systems, live captioning, braille, large print programs, and audio description. \u003c/p>\n\u003ch3>Magic Theatre, Inc. (aka Magic Theatre)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Mid-Career Playwright Initiative. Playwright Jessica Hagedorn will be in residence to continue developing her seminal theater work “Dogeaters” and to create an adaptation for the stage of her novel, \u003cem>Gangster of Love\u003c/em>. She may revise the text of \u003cem>Dogeaters\u003c/em> to incorporate additional dialogue in Tagalog to make the play bilingual. The play will be produced for a San Francisco premiere and may feature immersive and interactive design and staging that will allow audiences to access the play’s exuberant and unpredictable world more closely. A possible approach may be transforming a found space in San Francisco’s historically Filipino Tenderloin neighborhood into the underground Manila disco in which the events of the play unfold. Community and student outreach efforts will accompany the production.\u003c/p>\n\u003ch3>Margaret Jenkins Dance Studio, Inc. (aka Margaret Jenkins Dance Company)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of \u003cem>Site Series 2 (Inside Outside)\u003c/em>. Propelled by the vagabond nature of being a performance artist, a metaphor for all of life’s journeys, Margaret Jenkins and her company will choreograph small, site-specific works to be performed in non-traditional spaces, like churches, homes, and museums. The works can be presented as individual vignettes or as a complete evening-length work.\u003c/p>\n\u003ch3>ODC (aka Oberlin Dance Collective)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of new dance works. Co-Artistic Director Brenda Way will choreograph, \u003cem>Walk Back the Cat\u003c/em>, to a commissioned score by composer Paul Drescher, with set design by Alex Nichols. Guest artist Kate Weare will choreograph \u003cem>Criss Cross\u003c/em>. The works will premiere at the Yerba Buena Center for the Arts prior to touring to Chico, California, and White Bird in Portland, Oregon.\u003c/p>\n\u003ch3>ODC Theater\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the ODC Theater Presents program. The project will include The Walking Distance Dance Festival-SF, as well as presentations of Monique Jenkinson’s mini-series, \u003cem>Gender in Transition\u003c/em>, French-Algerian Compagnie Herve Koubi’s \u003cem>What the Day Owes to The Night\u003c/em>, Scott Wells’ and Keith Hennessy’s \u003cem>Touchy Subjects\u003c/em>, RAWdance’s \u003cem>Double Exposure\u003c/em>, and Hope Mohr Dance’s \u003cem>Manifesting\u003c/em>. ODC Theater’s primary mission is to be the West Coast’s premier venue for the contemporary performing arts and a home to nurture artists.\u003c/p>\n\u003ch3>Philharmonia Baroque Orchestra (aka Philharmonia)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support period-instrument performances of an all-Mozart concert program. Under the direction of Music Director Nicholas McGegan, the project will feature guest artist keyboardist Kristian Bezuidenhout, who will perform on the pianoforte. Programming will include such works by Wolfgang Amadeus Mozart as Concerto for\u003cbr>\nFortepiano no. 23 in A major, Symphony No. 27 in G major, and Symphony No. 39 in E-flat major. The project will celebrate Nicholas McGegan’s 30th anniversary as music director of the orchestra.\u003c/p>\n\u003ch3>Playwrights Foundation, Inc. (aka Playwrights Foundation)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Bay Area Playwrights Festival. The festival will include an artistic retreat, studio development of new plays, and publicly staged showings of full-length plays. Festival plays for staged readings will be selected through a competitive submission process. The festival also will present a workshop production of a play in development at a partner theater. Other festival activities will include a young theater-makers event, mentorship for emerging scenic designers, and an industry weekend, during which national new play producers are invited to San Francisco to see the plays.\u003c/p>\n\u003ch3>San Francisco Arts Commission\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Local Arts Agencies\u003cbr>\nTo support Affordable Housing and Sustainable Communities for San Francisco Artists. Working in partnership with the Mayor’s Office of Housing, the Council of Community Housing Organizations, and private developers, the commission will offer comprehensive services integrating outreach, education, individualized support, workshops, peer-support, and access to the municipal services necessary to meet the basic eligibility requirements for affordable housing. Outreach will focus on low- to moderate-income artists to ensure that individuals are aware of the affordable housing options available.\u003c/p>\n\u003ch3>San Francisco Camerawork, Inc. (aka SF Camerawork)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support an exhibition and publication series by emerging and underrepresented national and international artists. The selected artists will receive conceptual, logistical, financial, and administrative support to develop their work. The series will include gallery exhibitions in San Francisco, including public programming and the publication of three accompanying books with critical essays.\u003c/p>\n\u003ch3>San Francisco Contemporary Music Players (aka SFCMP)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support an artist residency project. The ensemble will present a residency, titled \u003cem>X-SCAPE: New Spaces for New Music\u003c/em>, which will explore space in the physical, metaphorical, and poetic sense, at the Z-Space Theater Artaud, in the Mission District of San Francisco. Programming will include works by composers such as David Lang, Gerard Grisey, Marianthi Papalexandri-Alexadri, Zosha DiCastri, Louis Andreissen, and Morton Feldman. Project activities will include educational events, such as pre-concert discussions, artistic director and composer talks open to the public, and student rehearsals with the ensemble.\u003c/p>\n\u003ch3>San Francisco Film Society (aka SFFS)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 59th San Francisco International Film Festival, and other curated film series. Held in the spring, the festival includes films from around the world, educational programs, and live performances. Additional programming throughout the year will include a series devoted to cinema from Hong Kong, and Screenings in Schools, in which students view films and engage with the filmmakers in person or via Skype. In partnership with the San Francisco Museum of Modern Art, SFFS presents a year-round series celebrating established and emerging masters of cinema.\u003c/p>\n\u003ch3>San Francisco Jazz Organization (aka SFJAZZ)\u003c/h3>\n\u003ch5>$45,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the SFJAZZ Collective’s commissioning, development, and performance of new original works by each member and arrangements of music by Michael Jackson. The ensemble will play as many as 18 live concerts on its 2016 national tour and present pre-concert talks, engage in master classes, workshops, school programs, and outreach events in tour cities which will include West Lafayette and Carmel, Indiana; Dubuque, Iowa; Louisville, Kentucky; North Bethesda, Maryland; Boston, Massachusetts; Detroit, Michigan; Saint Louis, Missouri; New York, New York; Pittsburgh, Pennsylvania; as well as Dallas and Houston, Texas. The SFJAZZ Collective members are Obed Calvaire, Robin Eubanks, Sean Jones, Matt Penman, Davis Sanchez, Edward Simon, Warren Wolf, and Miguel Zenon.\u003c/p>\n\u003ch3>San Francisco Jewish Film Festival (aka San Francisco Jewish Film Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 36th San Francisco Jewish Film Festival and related activities. Held in the summer, the festival hosts film screenings, live music, and panel discussions in celebration of Jewish culture and tradition. Recent films screened at the festival included Doug Block’s \u003cem>112 Weddings\u003c/em>, \u003cem>The Green Prince\u003c/em> by Nadav Schirman, and \u003cem>Theodore Bikel: In the Shoes of Sholom Aleichem\u003c/em> by John Lollos.\u003c/p>\n\u003ch3>San Francisco Opera Association (aka San Francisco Opera)\u003c/h3>\n\u003ch5>$90,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Opera\u003cbr>\nTo support the world premiere of \u003cem>Dream of the Red Chamber\u003c/em> by composer Bright Sheng with a libretto by playwright David Henry Hwang and Sheng. The text was written in the 18th century by Cao Xueqin, and is considered one of China’s four great classical novels, telling the story of a heartbreaking and timeless love\u003cbr>\ntriangle. The creative team may include Tony Award-winner David Henry Hwang, playwright and director Stan Lai, Academy Award-winning designer and art director Tim Yip, conductor George Manahan, and contralto Qiu Lin Zhang. Outreach activities will focus on the local and national Chinese-American community, college/university programs in music and Chinese/Asian studies, and cultural institutions in the Bay Area such as the Asian Art Museum of San Francisco. As many as six performances will be presented in the fall of 2016 at the War Memorial Opera House.\u003c/p>\n\u003ch3>San Francisco Performances, Inc. (aka San Francisco Performances)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of music and dance performances. The series will feature performances by pianist Leif Ove Andsnes (Norway), pianist Jonathan Biss, the Brentano String Quartet, Dorrance Dance, the Dover Quartet, pianist Marc-Andre Hamelin (Canada), cellist Harriet Krigjh (The Netherlands), tenor Mark Padmore, Paul Taylor Dance Company, and pianist Javier Perianes (Spain). Educational and outreach activities will include lectures, open rehearsals, and workshops.\u003c/p>\n\u003ch3>San Francisco Symphony (On behalf of San Francisco Symphony Youth Orchestra)\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Artistic Development Program of the San Francisco Symphony Youth Orchestra. Designed to complement the youth orchestra’s core program of weekly rehearsals and concert performances, the free program will provide middle to high school students with coaching, mentorship, and specialized training in chamber music. Students will receive free tickets to San Francisco Symphony performances and participate in master classes with guest artists. In addition to rehearsals with San Francisco Symphony Youth Orchestra Music Director Donato Cabrera, participants will rehearse with San Francisco Symphony Music Director Michael Tilson Thomas.\u003c/p>\n\u003ch3>San Francisco Symphony\u003c/h3>\n\u003ch5>$75,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support a commissioning, performance, and composer residency project. Under the direction of Artistic Director Michael Tilson Thomas, the \u003cem>Mason Bates: Composer in 360\u003c/em> project will feature the world premiere performance of a new work by Bates titled “Auditorium” with guest conductor Pablo Heras-Casado (named Musical America’s 2014 Conductor of the Year). The composer will begin his two-week residency by curating musical evenings in SoundBox, the orchestra’s new performance space located backstage at Davies Symphony Hall. Activities will include community engagements, such as pre-concert lectures and conversations.\u003c/p>\n\u003ch3>Silent Film Festival (aka San Francisco Silent Film Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 21st San Francisco Silent Film Festival. The four-day event showcases silent films with live musical accompaniment at the Castro Theatre in San Francisco. The 2016 festival will celebrate the centennial of a pivotal year in film history – 1916 – with screenings of films made in that year, such as D.W. Griffith’s \u003ci>Intolerance.\u003c/i>\u003c/p>\n\u003ch3>Southern Exposure\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support the commissioning of new work by emerging artists for gallery exhibitions and public art projects. This year-long project will include group exhibitions, public art projects, and additional events and performances highlighting the contemporary art practice of emerging Bay Area artists and art writers. A rotating curatorial committee will select the artists. Participating artists will receive conceptual, logistical, and administrative support to develop their work; a stipend and materials budget; and published essays.\u003c/p>\n\u003ch3>Stern Grove Festival Association (aka Stern Grove Festival)\u003c/h3>\n\u003ch5>$45,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the Stern Grove Festival. The festival will feature free outdoor performances by artists including the San Francisco Symphony and the San Francisco Ballet, as well as world music, pop, and jazz artists. Engagement activities will include hands-on workshops and camps for youth, as well as pre-show arts activities and discussions.\u003c/p>\n\u003ch3>The SF Playhouse (aka San Francisco Playhouse)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Sandbox New Play Program. The program supports playwrights through the commissioning and development of new works. Development opportunities will include a monthly reading series, week-long workshops with professional artists, and the Sandbox Series of world premiere productions. Designed to serve as a bridge between readings and mainstage productions, the program will provide a low-risk environment and community of support in which playwrights can hone their craft. The project will include the world premiere of a new play by Theresa Rebeck as well as a second production of \u003cem>You Mean to Do Me Harm\u003c/em> by Christopher Chen.\u003c/p>\n\u003ch3>Theatre of Yugen, Incorporated (aka Theatre of Yugen at NOHspace)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the development and production of \u003cem>A Play on a Plate\u003c/em>, a theatrical event fusing theater with culinary arts. Developed in collaboration with Japanese chef Nobuaki Fushiki through the company’s Fermentation Lab, the performance will take the form of a theater/dinner pop-up event inspired by the many ways fermentation influences Japanese cuisine. The project will explore the potential of food to bring together diverse communities, including the local corporate community, prominent members of San Francisco’s foodie culture, students, and scientists in the growing biotech industry. The project development period will include educational outreach events and work-in-progress showings.\u003c/p>\n\u003ch3>Women’s Audio Mission (aka WAM)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the expansion of Girls on the Mic: Digital Media Training for Girls. The project is a media arts education program for girls from underserved communities in the Bay Area. Project activities are designed to cultivate the next generation of women media arts and technology experts. Participants will create their own websites, podcasts, music projects, and other media arts projects that mirror professional activities such as creative coding. Students will showcase their work online and share via mobile devices with friends and family.\u003c/p>\n\u003ch3>World Arts West (aka San Francisco Ethnic Dance Festival)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the presentation of the 38th annual San Francisco Ethnic Dance Festival. The festival provides underserved artists with the opportunity to perform in a professional setting. Artistic Directors Carlos Carvajal and CK Ladzekpo will attend dancers’ rehearsals and offer input and guidance, while also creating innovative transitions between dance pieces. After a rigorous audition process, more than 30 Northern California dance ensembles, whose work is rooted in various cultural traditions, will be selected to perform at the festival.\u003c/p>\n\u003ch3>Yerba Buena Arts & Events (aka Yerba Buena Gardens Festival (YBGF))\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the Yerba Buena Gardens Festival. The outdoor series will include world premiere presentations of new works and performances by artists in world music, dance, and Latin jazz, among others. The festival also will include partnerships with other local performing arts organizations.\u003c/p>\n\u003ch3>Zaccho SF (aka Zaccho Dance Theatre)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the second biennial SF Aerial Dance Festival. The festival will bring together aerial dance artists, students, and audiences for a dynamic week of performances, workshops, and discussions. Emerging and established aerial dance choreographers will be featured, including Flyaway Productions, Project BANDALOOP, and Zaccho Dance Theatre. Performances will take place at the historic Fort Mason Center, with workshops happening at the Zaccho Studio in Bayview/Hunter’s Point.\u003c/p>\n\u003ch3>ZYZZYVA, Inc. (aka ZYZZYVA)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Literature\u003cbr>\nTo support the publication and promotion of the journal “ZYZZYVA.” Showcasing the work of acclaimed and emerging West Coast writers, the journal publishes fiction, poetry, nonfiction, and artwork. The journal will be promoted at literary festivals and conferences; additional content, such as original writing and video interviews with contributors, will be made available online.\u003c/p>\n\u003ch3>Firebird Youth Chinese Orchestra\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support the Aimusic International Festival: Intangible Chinese Heritage Celebration. Performers from China and other Asian countries will showcase a variety of traditional Asian operas, as well as offer a seminar on Chinese opera. As many as 20 groups are expected to present performances that will include Kunqu Opera, Peking Opera, Yueju Opera, and Tibetan Opera. Additionally, the Firebird Youth Chinese Orchestra will rehearse special music for the festival and receive training in traditional Chinese customs and etiquette to receive the international artists properly.\u003c/p>\n\u003ch3>Mexican Heritage Corporation (aka VivaFest!)\u003c/h3>\n\u003ch5>$15,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support VivaFest!, the San Jose Mexican Heritage and Mariachi Festival. The project will celebrate the contributions of Mexican Americans and new Latino immigrants to the culture of the U.S. through performances, workshops, and art exhibits. Additionally, the program will offer master classes for mariachi and ballet folklorico.\u003c/p>\n\u003ch3>Movimiento de Arte y Cultura Latino Americana de San Jose, Inc. (aka MACLA)\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater\u003cbr>\nTo support the production of \u003ci>’57 Chevy,\u003c/i> a solo performance piece based on the script by Cris Franco, and associated outreach activities. Ricardo Salinas will perform the autobiographical story about a young man traversing the physical and cultural borders from Mexico City to the United States in the back seat of his father’s\u003cbr>\n1957 Chevrolet. The production will premiere at the Castellano Playhouse and will include performances for area high schools that serve a Latino majority.\u003c/p>\n\u003ch3>Opera Cultura\u003c/h3>\n\u003ch5>$15,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Opera\u003cbr>\nTo support commission, development, and workshop presentations of \u003cem>Bless Me, Ultima\u003c/em> a Mexican-American opera by composer/librettist Hector Armienta. The opera is based on Rudolfo Anaya’s novel of the same title (which is part of the NEA’s Big Read initiative). The story follows a young boy, Antonio, as he comes of age with\u003cbr>\nthe guidance of his curandera (shaman) and protector Ultima. Under her wing, he will probe the family ties that bind and rend him, and discover the magical secrets of the llano (grasslands) and the river. Community engagement activities will include youth writing workshops and a workshop presentation in summer 2017.\u003c/p>\n\u003ch3>San Jose Multicultural Artists Guild Inc. (aka SJMAG)\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support dance performances featuring Lula Washington Dance Theatre, choreographed by Lula Washington, with associated outreach activities. The performances will explore African-American racial identity and experience, merging the choreographer’s reflections about important historical events, such as the Civil Rights Movement, while simultaneously exploring contemporary racial tension within the United States. Associated outreach, intended to benefit economically disadvantaged, primarily African-American students, will also include a student matinee performance, a free workshop, and free transportation for youth participants.\u003c/p>\n\u003ch3>San Jose Museum of Art Association (aka San Jose Museum of Art)\u003c/h3>\n\u003ch5>$45,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Museum\u003cbr>\nTo support an exhibition of new collaborative work by photographer Richard Misrach and composer Guillermo Galindo addressing issues related to the U.S./Mexico border. Titled \u003cem>Bordos Cantos\u003c/em>, the exhibition will juxtapose large-scale photographs by Misrach with musical instruments handcrafted by Galindo from ordinary objects collected along the border. The exhibition will be accompanied by communitywide public programming intended to serve the city’s large immigrant community.\u003c/p>\n\u003ch3>ZeroOne – The Art and Technology Network (aka ZERO1)\u003c/h3>\n\u003ch5>$20,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support the creation of new work by Tahir Hemphill. Hemphill’s solo exhibition, \u003cem>Maximum Distance Minimum Displacement\u003c/em>, builds upon research undertaken at the STUDIO for Creative Inquiry at Carnegie Mellon University. The exhibition will feature new photography, video, and sculptural works, created using data drawn from a linguistic analysis of the work of several well-known rap musicians. The project will include training of teens at the artist’s Rap Research Lab, a studio for the production of creative technology projects and a space to teach art, design, cultural analysis, media criticism, data mining, and data visualization.\u003c/p>\n\u003ch3>Los Cenzontles Mexican Arts Center (aka Los Cenzontles Cultural Academy)\u003c/h3>\n\u003ch5>$35,000 (San Pablo, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support Routes of Resilience. A series of traditional and contemporary Mexican musical performances will be presented to the Mexican-American community. Live performances, web-based videos, and recordings will highlight the immigration experience, illuminating how personal and collective resilience have guided individuals and families through the challenging transitions particular to Mexican-American communities. Some performances will be supplemented with workshops, lecture-demonstrations, film screenings, and discussions.\u003c/p>\n\u003ch3>California Film Institute (aka CFI)\u003c/h3>\n\u003ch5>$30,000 (San Rafael, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 39th Mill Valley Film Festival. The festival will present narrative, documentary, and short American and international independent films. The program also will include panels, master classes, and free daytime screenings for students.\u003c/p>\n\u003ch3>Marin Shakespeare Company\u003c/h3>\n\u003ch5>$10,000 (San Rafael, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support theater workshops at San Quentin State Prison. The workshops for incarcerated veterans, including participants with disabilities, will include the creation and performance of an original theater piece addressing veterans’ issues. Performance artist Andrew Salvage will perform for the workshop participants and will lead sessions on autobiographical playwriting. \u003c/p>\n\u003ch3>Cabrillo Festival of Contemporary Music (aka Cabrillo Music Festival)\u003c/h3>\n\u003ch5>$25,000 (Santa Cruz, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Cabrillo Festival of Contemporary Music. Under the direction of Music Director Marin Alsop, the festival orchestra will perform music by living composers. Festival concerts will be held at the Santa Cruz Civic Auditorium. Other activities will include chamber music concerts, composers-in-residence, and a workshop for conductors and composers. Past composers-in-residence have included Mason Bates, Hannah Lash, and Missy Mazzoli, among many others. Featured programming will include the commissioning and world premiere of a new work by composer Anna Clyne and a collaboration with The Choral Project, a San Jose-based chorus, on its 20th anniversary. Educational and community activities will include open rehearsals, panel discussions, and a street fair.\u003c/p>\n\u003ch3>Kuumbwa Jazz Society (aka Kuumbwa Jazz)\u003c/h3>\n\u003ch5>$15,000 (Santa Cruz, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support a concert series with NEA Jazz Master Charles Lloyd. Plans include several concerts in celebration of the 50th anniversary of Lloyd’s seminal \u003ci>Forest Flower: Live at Monterey\u003c/i> recording. Among the artists slated to perform alongside Lloyd, in differently sized ensembles and a duo-setting, are Jason Moran, Eric Harland, Reuben Rogers, Gerald Clayton, as well as 1999 NEA National Heritage Fellow Zakir Hussein. Members of the Kuumbwa Honor Jazz Band, composed of local high school student musicians, may be invited to observe preperformance sound checks and engage with the artists.\u003c/p>\n\u003ch3>Santa Rosa Symphony Association (aka Santa Rosa Symphony)\u003c/h3>\n\u003ch5>$10,000 (Santa Rosa, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a performance, a workshop, and related outreach activities featuring Venezuelan pianist Gabriela Martinez. The project is intended to serve economically disadvantaged, primarily Latino residents, and Martinez will conduct a free workshop for elementary and middle school violinists, participate in free rehearsals for the\u003cbr>\ncommunity, and offer a bilingual pre-concert talk. Organizations such Big Brothers Big Sisters of the North Bay, the YWCA Sonoma County, California Parenting Institute, the Boys and Girls Club Central Santa Rosa, and Hanna Boys Center – selected for their ties to local, underserved communities – will assist with targeted outreach and free ticket distribution for the main stage performance at the Green Music Center.\u003c/p>\n\u003ch3>Montalvo Association (aka Montalvo Arts Center)\u003c/h3>\n\u003ch5>$15,000 (Saratoga, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities\u003cbr>\nTo support residencies and related activities. Selected emerging and mid-career American artists from diverse disciplines will be offered fully funded residencies. Artists will present their work on-site and in the community through exhibitions and performances, as well as through educational and outreach activities.\u003c/p>\n\u003ch3>Headlands Center for the Arts (aka Headlands)\u003c/h3>\n\u003ch5>$35,000 (Sausalito, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities/Imagine Your Parks\u003cbr>\nTo support artist residencies, an alumni new works program, and an artist commissioning program. Residencies will focus on emerging and mid-career artists. The alumni new works and commissioning programs will offer support for special projects created by past participating artists and local artists. The commissioning program’s goals include supporting and investing in artists whose work will impact the cultural landscape; providing artists with the support to produce a project which might not otherwise happen; and encouraging artists to make work inspired by the Marin Headlands, part of the National Park Service.\u003c/p>\n\u003ch3>Voice of Roma (aka VOR)\u003c/h3>\n\u003ch5>$35,000 (Sebastopol, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support \u003cem>Opre Khetanes! (Rise Up Together!): Romani Culture in Diaspora\u003c/em>. The cultural contributions of the Roma Gypsies will be explored through a symposium and multi-city tour of Romani artists, including 2011 NEA National Heritage Fellow Yuri Yunakov. The tour will begin at New York University and conclude at the Voice of Roma’s annual Herdeljezi Festival in San Francisco.\u003c/p>\n\u003ch3>Stanford Jazz Workshop (aka SJW)\u003c/h3>\n\u003ch5>$20,000 (Stanford, CA)\u003c/h5>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Middle School Jazz Initiative, including Giant Steps Day Camp, Giant Steps Jazz Singers, and Giant Steps Big Band ensemble. This jazz education program enables middle school students to interact with master jazz educators and artists through year-round, weekly after-school instrumental music instruction. The middle\u003cbr>\nschool programs all share the program name “Giant Steps,” to not only indicate the progress the students make as a result of participating, but also refers to the jazz composition, “Giant Steps” by the late John Coltrane. Giant Steps program directors and faculty are selected for their extensive experience and recognized success teaching jazz at the middle school level. Taught at local host school sites and during SJW’s jazz immersion camps in the summer on the Stanford University campus, students follow a personalized curriculum that includes improvisation, jazz styles, ear training, technique, and playing in small and large ensembles. The program culminates in a final public performance at the end of each academic semester and at the end of each week of jazz immersion camp.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Owners of the Elbo Room, the darkly-lit bar and music venue in San Francisco’s Mission District, learned Tuesday morning that their lease will be extended to Jan. 1, 2018, putting off its impending closure for two more years.\u003c/p>\n\u003cp>[contextly_sidebar id=”9jTf7M3FVvG07dI1Qmev4qGr1embprbB”]\u003c/p>\n\u003cp>Since 2014, the Elbo Room’s landlords, Dennis Ring and Susan Rokisky-Ring, have been moving forward with a project to tear down the 80-year-old building and \u003ca href=\"http://ww2.kqed.org/news/2014/11/13/san-franciscos-elbo-room-might-be-demolished-for-condos\" target=\"_blank\" rel=\"noopener\">replace it with condos\u003c/a>. But the project has not only met resistance from the \u003ca href=\"http://ww2.kqed.org/arts/2014/11/21/the-elbo-room-is-far-from-dying-but-theres-still-a-movement-to-save-it/\" target=\"_blank\" rel=\"noopener\">bar’s dedicated patrons\u003c/a>, it’s also run into delay after delay from the city.\u003c/p>\n\u003cp>“They might as well keep us there and keep everyone happy,” said Matt Shapiro, who owns and operates the Elbo Room with partner Erik Cantu.\u003c/p>\n\u003cp>This year has been quite the roller coaster of emotions for Shaprio and Cantu, who were \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">told back in April\u003c/a> that their lease would expire in November. But \u003ca href=\"http://ww2.kqed.org/arts/2015/08/19/the-elbo-room-will-live-to-see-2016/\" target=\"_blank\" rel=\"noopener\">just a few months later,\u003c/a> they learned that the condo project was running into delays; the Rings informed the pair that they could stay open through 2016.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though Shapiro says the building owners have yet to put anything in writing, they have been talking about the extension since Friday and received a “final” verbal agreement from their landlords Tuesday morning.\u003c/p>\n\u003cp>Shapiro says there are no plans for an official celebration of the lease extension, but the status he wrote for the club’s Facebook page says it all:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/elbo.room.9/posts/1533585760301706\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Owners of the Elbo Room, the darkly-lit bar and music venue in San Francisco’s Mission District, learned Tuesday morning that their lease will be extended to Jan. 1, 2018, putting off its impending closure for two more years.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Since 2014, the Elbo Room’s landlords, Dennis Ring and Susan Rokisky-Ring, have been moving forward with a project to tear down the 80-year-old building and \u003ca href=\"http://ww2.kqed.org/news/2014/11/13/san-franciscos-elbo-room-might-be-demolished-for-condos\" target=\"_blank\" rel=\"noopener\">replace it with condos\u003c/a>. But the project has not only met resistance from the \u003ca href=\"http://ww2.kqed.org/arts/2014/11/21/the-elbo-room-is-far-from-dying-but-theres-still-a-movement-to-save-it/\" target=\"_blank\" rel=\"noopener\">bar’s dedicated patrons\u003c/a>, it’s also run into delay after delay from the city.\u003c/p>\n\u003cp>“They might as well keep us there and keep everyone happy,” said Matt Shapiro, who owns and operates the Elbo Room with partner Erik Cantu.\u003c/p>\n\u003cp>This year has been quite the roller coaster of emotions for Shaprio and Cantu, who were \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">told back in April\u003c/a> that their lease would expire in November. But \u003ca href=\"http://ww2.kqed.org/arts/2015/08/19/the-elbo-room-will-live-to-see-2016/\" target=\"_blank\" rel=\"noopener\">just a few months later,\u003c/a> they learned that the condo project was running into delays; the Rings informed the pair that they could stay open through 2016.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though Shapiro says the building owners have yet to put anything in writing, they have been talking about the extension since Friday and received a “final” verbal agreement from their landlords Tuesday morning.\u003c/p>\n\u003cp>Shapiro says there are no plans for an official celebration of the lease extension, but the status he wrote for the club’s Facebook page says it all:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/elbo.room.9/posts/1533585760301706\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "holiday-cocktails-why-dream-of-a-white-christmas-drink-one-instead",
"title": "Holiday Cocktails: Why Dream of a White Christmas? Drink One Instead!",
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"content": "\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11126413\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>Of all the great holiday traditions, there are only two that really matter: the annual outing to see \u003cem>The Nutcracker\u003c/em>, \u003cem>A Christmas Carol\u003c/em> or \u003cem>The Messiah\u003c/em>…and drinking.\u003c/p>\n\u003cp>Here at KQED Arts, we thought it would make a lot of sense to combine them. So we’ve created a bunch of tasty cocktails to help enhance your cultural pleasure this holiday season.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141407\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-400x465.jpg\" alt=\"The Nutcracker\" width=\"400\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-516x600.jpg 516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-1015x1180.jpg 1015w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-1920x2233.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-1180x1372.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-960x1117.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Nutcracker \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Nutcracker\u003c/h3>\n\u003cp>Gird yourself for another matinee appearance of the sugarplum fairy with this robust cocktail. A comforting drink with a dark underside, The Nutcracker captures the brooding fantasy of Tchaikovsky’s ballet in a tumbler. We matched rye whiskey with the burnt orange flavors of Amaro Nardini and black walnut bitters to create a nutty tribute to the perennial holiday favorite. Perfect as a pre-curtain libation, or surreptitiously sipped from a flask in your seat. Prost!\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>1.5 oz rye whiskey\u003cbr>\n.5 oz simple syrup\u003cbr>\n5 dashes black walnut bitters\u003cbr>\n1 oz Amaro Nardini\u003cbr>\n.25 tsp nutmeg\u003c/h5>\n\u003ch5>Shake ingredients together with ice and serve in an old fashioned glass over an ice cube with a frozen walnut suspended in the middle.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141406\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141406\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-400x563.jpg\" alt=\"The White Christmas\" width=\"400\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-400x563.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-427x600.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-839x1180.jpg 839w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-1180x1659.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-960x1350.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599.jpg 1831w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The White Christmas \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The White Christmas\u003c/h3>\n\u003cp>Why dream of a white Christmas when you can drink one? To evoke the velvety texture of Bing Crosby’s voice, we blended coconut milk, white rum and elderflower liquor, and then splashed in a dash of rosewater just for good measure. Dried coconut flakes turn each glass into a miniature snow globe for your winter reveries. Top with a Bing cherry (brandied) to complete the scene.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>0.75 oz coconut milk\u003cbr>\n1.5 oz white rum\u003cbr>\n1 oz Domaine Canton ginger liqueur\u003cbr>\n0.5 oz elderflower liqueur\u003cbr>\nDash of rosewater\u003c/h5>\n\u003ch5>Shake ingredients together with ice and serve in a coupe glass rimmed with dried coconut and half filled with crushed ice. Top with a Bing cherry.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141405\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141405\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-400x409.jpg\" alt=\"The Grinch\" width=\"400\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-400x409.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-587x600.jpg 587w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-1155x1180.jpg 1155w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-1920x1962.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-1180x1206.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-960x981.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-64x64.jpg 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Grinch \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Grinch\u003c/h3>\n\u003cp>While we considered fashioning this ode to Christmas’s greenest villain with eel, cactus and arsenic sauce, our hearts softened and we mixed a drink that would make every Who in Whoville sing. The more of this you have, the less grinchy you will be. Raise a glass in honor of a heart that grew three sizes that Christmas day.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>1.5 oz tequila\u003cbr>\n1 oz absinthe\u003cbr>\n2 kiwi fruit, peeled\u003cbr>\nHandful of mint\u003c/h5>\n\u003ch5>Blend all ingredients plus a few ice cubes in a Magic Bullet or similar food processor. Pour into a Martini glass and garnish with one shriveled, dried cranberry shaped into a heart and skewered on a swizzle stick.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141408\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141408\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-400x473.jpg\" alt=\"The Jacob Marley\" width=\"400\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-400x473.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-507x600.jpg 507w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-998x1180.jpg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-1920x2270.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-1180x1395.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-960x1135.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Jacob Marley \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Jacob Marley\u003c/h3>\n\u003cp>Ebenezer Scrooge’s late business partner has been “as dead as a doornail” for more than 150 years. Although Marley’s ghost may be condemned to forever wander the Earth in chains, you can still conjure him with this boozy seance. Watch as the “louche effect” causes Marley’s spectral presence to materialize in your spirit glass! Shake your ice-filled tumbler and heed the death-rattle of his ghostly chains. God save us. Everyone. Repent and find some mistletoe before it’s too late.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>0.5 oz Benedictine\u003cbr>\n0.5 oz vodka\u003cbr>\n0.5 oz pastis\u003cbr>\n1.5 oz water\u003c/h5>\n\u003ch5>Pour the pastis into an old fashioned glass. Shake the vodka, water, Benedictine and a few ice cubes together. Then drip this blend into the glass of pastis slowly and watch the liquid become cloudy — that’s the louche effect in action. To evoke Marley’s ball and chain, add the ice and a Castelvetrano olive.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141527\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-400x398.jpg\" alt=\"The Away in a Manger\" width=\"400\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-603x600.jpg 603w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-1180x1174.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-1920x1910.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-960x955.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Away in a Manger \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Away in a Manger\u003c/h3>\n\u003cp>If you choose to spend the next three weeks in hiding, you may enjoy this loyal companion.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>2 oz Wild Turkey bourbon\u003cbr>\nSome straw\u003c/h5>\n\u003ch5>Pour bourbon into a whiskey glass. Garnish with straw.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Enhance your annual outing to see the 'Nutcracker,' 'Christmas Carol' and 'Messiah' with our holiday arts-themed libations.",
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"title": "Holiday Cocktails: Why Dream of a White Christmas? Drink One Instead! | KQED",
"description": "Enhance your annual outing to see the 'Nutcracker,' 'Christmas Carol' and 'Messiah' with our holiday arts-themed libations.",
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"headline": "Holiday Cocktails: Why Dream of a White Christmas? Drink One Instead!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11126413\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>Of all the great holiday traditions, there are only two that really matter: the annual outing to see \u003cem>The Nutcracker\u003c/em>, \u003cem>A Christmas Carol\u003c/em> or \u003cem>The Messiah\u003c/em>…and drinking.\u003c/p>\n\u003cp>Here at KQED Arts, we thought it would make a lot of sense to combine them. So we’ve created a bunch of tasty cocktails to help enhance your cultural pleasure this holiday season.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141407\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-400x465.jpg\" alt=\"The Nutcracker\" width=\"400\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-516x600.jpg 516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-1015x1180.jpg 1015w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-1920x2233.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-1180x1372.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03666-e1449526423637-960x1117.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Nutcracker \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Nutcracker\u003c/h3>\n\u003cp>Gird yourself for another matinee appearance of the sugarplum fairy with this robust cocktail. A comforting drink with a dark underside, The Nutcracker captures the brooding fantasy of Tchaikovsky’s ballet in a tumbler. We matched rye whiskey with the burnt orange flavors of Amaro Nardini and black walnut bitters to create a nutty tribute to the perennial holiday favorite. Perfect as a pre-curtain libation, or surreptitiously sipped from a flask in your seat. Prost!\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>1.5 oz rye whiskey\u003cbr>\n.5 oz simple syrup\u003cbr>\n5 dashes black walnut bitters\u003cbr>\n1 oz Amaro Nardini\u003cbr>\n.25 tsp nutmeg\u003c/h5>\n\u003ch5>Shake ingredients together with ice and serve in an old fashioned glass over an ice cube with a frozen walnut suspended in the middle.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141406\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141406\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-400x563.jpg\" alt=\"The White Christmas\" width=\"400\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-400x563.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-427x600.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-839x1180.jpg 839w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-1180x1659.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599-960x1350.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03671-e1449526313599.jpg 1831w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The White Christmas \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The White Christmas\u003c/h3>\n\u003cp>Why dream of a white Christmas when you can drink one? To evoke the velvety texture of Bing Crosby’s voice, we blended coconut milk, white rum and elderflower liquor, and then splashed in a dash of rosewater just for good measure. Dried coconut flakes turn each glass into a miniature snow globe for your winter reveries. Top with a Bing cherry (brandied) to complete the scene.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>0.75 oz coconut milk\u003cbr>\n1.5 oz white rum\u003cbr>\n1 oz Domaine Canton ginger liqueur\u003cbr>\n0.5 oz elderflower liqueur\u003cbr>\nDash of rosewater\u003c/h5>\n\u003ch5>Shake ingredients together with ice and serve in a coupe glass rimmed with dried coconut and half filled with crushed ice. Top with a Bing cherry.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141405\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141405\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-400x409.jpg\" alt=\"The Grinch\" width=\"400\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-400x409.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-587x600.jpg 587w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-1155x1180.jpg 1155w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-1920x1962.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-1180x1206.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-960x981.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03659-e1449526913570-64x64.jpg 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Grinch \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Grinch\u003c/h3>\n\u003cp>While we considered fashioning this ode to Christmas’s greenest villain with eel, cactus and arsenic sauce, our hearts softened and we mixed a drink that would make every Who in Whoville sing. The more of this you have, the less grinchy you will be. Raise a glass in honor of a heart that grew three sizes that Christmas day.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>1.5 oz tequila\u003cbr>\n1 oz absinthe\u003cbr>\n2 kiwi fruit, peeled\u003cbr>\nHandful of mint\u003c/h5>\n\u003ch5>Blend all ingredients plus a few ice cubes in a Magic Bullet or similar food processor. Pour into a Martini glass and garnish with one shriveled, dried cranberry shaped into a heart and skewered on a swizzle stick.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141408\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141408\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-400x473.jpg\" alt=\"The Jacob Marley\" width=\"400\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-400x473.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-507x600.jpg 507w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-998x1180.jpg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-1920x2270.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-1180x1395.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03679-e1449527510979-960x1135.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Jacob Marley \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Jacob Marley\u003c/h3>\n\u003cp>Ebenezer Scrooge’s late business partner has been “as dead as a doornail” for more than 150 years. Although Marley’s ghost may be condemned to forever wander the Earth in chains, you can still conjure him with this boozy seance. Watch as the “louche effect” causes Marley’s spectral presence to materialize in your spirit glass! Shake your ice-filled tumbler and heed the death-rattle of his ghostly chains. God save us. Everyone. Repent and find some mistletoe before it’s too late.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>0.5 oz Benedictine\u003cbr>\n0.5 oz vodka\u003cbr>\n0.5 oz pastis\u003cbr>\n1.5 oz water\u003c/h5>\n\u003ch5>Pour the pastis into an old fashioned glass. Shake the vodka, water, Benedictine and a few ice cubes together. Then drip this blend into the glass of pastis slowly and watch the liquid become cloudy — that’s the louche effect in action. To evoke Marley’s ball and chain, add the ice and a Castelvetrano olive.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11141527\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11141527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-400x398.jpg\" alt=\"The Away in a Manger\" width=\"400\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-400x398.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-603x600.jpg 603w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-1180x1174.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-1920x1910.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-960x955.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSC03700-e1449530390447-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Away in a Manger \u003ccite>(Photo: Jim Ratcliffe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Away in a Manger\u003c/h3>\n\u003cp>If you choose to spend the next three weeks in hiding, you may enjoy this loyal companion.\u003c/p>\n\u003cdiv class=\"recipe\" style=\"width: 620px;float: left\">\n\u003cp>\u003cb>Recipe:\u003c/b>\u003c/p>\n\u003ch5>2 oz Wild Turkey bourbon\u003cbr>\nSome straw\u003c/h5>\n\u003ch5>Pour bourbon into a whiskey glass. Garnish with straw.\u003c/h5>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>UPDATE:\u003c/strong> (Dec. 11, 4pm)\u003c/p>\n\u003cp>Though the official opening date is Thursday, Dec. 17, the Alamo Drafthouse will have a “soft opening” for the New Mission Theater this Saturday, Dec. 12. For movie listings, visit the \u003ca href=\"https://drafthouse.com/sf/calendar/new-mission\" target=\"_blank\" rel=\"noopener\">theater’s website\u003c/a>. \u003c/p>\n\u003cp>Alamo Drafthouse, along with production company \u003ca href=\"http://www.annapurnapics.com/main/#about\" target=\"_blank\" rel=\"noopener\">Annapurna Pictures,\u003c/a> have also made a deal with the former San Francisco video store Le Video to help preserve their famous collection of over 90,000 titles. Read more about the deal \u003ca href=\"http://ww2.kqed.org/news/2015/12/09/alamo-drafthouse-makes-deal-to-preserve-titles-from-le-video-collection\" target=\"_blank\" rel=\"noopener\">on KQED News\u003c/a>. \u003c/p>\n\u003cp>\u003cb>Original story:\u003c/b>\u003c/p>\n\u003cp>By my reckoning, the Metreon multiplex was the last new movie theater to open in San Francisco, in 1999. A few exhibitors have since popped for pricey reconfigurations and renovations (Sundance Kabuki, Landmark’s Embarcadero Center Cinema), but nobody has had the ambition and confidence to either build from scratch or reclaim and restore a shuttered cinema in the 21st century — until now. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Dec. 17, the \u003ca href=\"https://drafthouse.com/sf\" target=\"_blank\" rel=\"noopener\">New Mission Theater\u003c/a> reopens under the auspices of Alamo Drafthouse, the quirky and influential Austin-based chain founded by Berkeley native Tim League and his wife, Karrie.\u003c/p>\n\u003cfigure id=\"attachment_11144837\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Exterior.jpg\" alt=\"The marquee on Mission Street.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11144837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Exterior.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Exterior-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">The marquee on Mission Street. \u003ccite>(Courtesy: Mike Keegan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The centerpiece of the massively refurbished New Mission, on Mission St between 21st and 22nd Streets, is a 320-seat house augmented by four theaters scaling from 90 down to 34 seats. Although it’s a neighborhood theater, like the vast majority of S.F. cinemas, it will attract moviegoers from all over the city for at least the first several months. (New movie theaters, like new ballparks, have a galvanizing effect on the public. Call it the “new seat effect.”)\u003c/p>\n\u003cp>As long as we’re talking about the (infra)structure, the New Mission features a significant bar/lounge space that League envisions as a destination even if customers aren’t up for a movie. This writer, however, imagines Bear Vs Bull, as it’s called, jammed with people jabbering about the film they just saw. \u003c/p>\n\u003cp>“What I like to do,” League agrees, “and why we have a bar at all our theaters, after I watch an incredible movie the first thing I want to do is sit down over a beer or a cocktail and talk about it.” Whoever’s downing ‘em, the libations and comestibles comprise an important revenue stream to recoup Drafthouse’s reported $10 million investment in the New Mission.\u003c/p>\n\u003cp>Audiences, admittedly, aren’t much interested in whether the profit margin is greater for a pint and a portobello sandwich than basic popcorn and soda. And after the novelty of the new theater wears off, regular moviegoers will be less concerned with the configuration of the screening rooms and the comfort of the seats than with what’s on the screen. So the most compelling question is, what will the New Mission be showing?\u003c/p>\n\u003cfigure id=\"attachment_11144834\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Construction.jpg\" alt=\"New Mission lobby staircase under construction, April 2015.\" width=\"1200\" height=\"795\" class=\"size-full wp-image-11144834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-960x636.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">New Mission lobby staircase under construction, April 2015. \u003ccite>(Photo: Jacob Zukerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The very first booking, a low-budget, under-the-radar sequel entitled \u003cem>Star Wars: Episode VII: The Force Awakens\u003c/em>, feels more like an acknowledgement of financial realities than the first step in instilling the New Mission’s identity. My conversations with League and creative manager Mike Keegan, a familiar face from his years at the Roxie, indicates that they are ecumenical and egalitarian movie lovers whose tastes encompass high and low, quality and exploitation, Bergman-esque philosophy and Pavlovian action, without fear or favor. So booking a blockbuster shouldn’t be viewed as either shamelessly selling out or violating monastic precepts but an embrace of all kinds of movies — in this case, popular mainstream fare.\u003c/p>\n\u003cp>Of course, a steady diet of that stuff — as well as popcorn and cola — makes you flabby, soft and stupid. In any event, the New Mission will do consistently terrific business on the weekends, regardless of whether its offerings are comic-book movies or character-based dramas (aka arthouse fare), because that’s when people go to the movies. The overriding challenge the New Mission faces is filling the place on weeknights. Here’s where it gets interesting.\u003c/p>\n\u003cp>Keegan, who holds the keys to the programming kingdom, is merging Alamo Drafthouse’s experience in Texas and other markets with his own experiments. His first job in the film biz a little over a decade ago was as a parking lot attendant at the Spectrum in Albany, New York; he wound up managing the place and booking midnight movies. He joined the Roxie’s merry programmers in 2008, shortly after he moved to San Francisco. \u003c/p>\n\u003cp>At the New Mission, Keegan declares, “We’re here to build film lovers. And a time-honored way to build film lovers is through genre film.”\u003c/p>\n\u003cfigure id=\"attachment_11144835\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Construction2.jpg\" alt=\"New Mission main auditorium under construction, April 2015.\" width=\"1200\" height=\"795\" class=\"size-full wp-image-11144835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-960x636.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">New Mission main auditorium under construction, April 2015. \u003ccite>(Photo: Jacob Zukerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, League, his wife and various associates compiled a library of some 5,000 35mm prints from which the Alamo Drafthouse theaters curate weeknight series. Keegan practically rubs his hands together in glee and cackles over the imminent prospect of transporting those popular Drafthouse theme nights to San Francisco. “Terror Tuesday” will feature a steady stream of horror movies of every conceivable stripe, while “Weird Wednesday” encompasses exploitation movies, bizarre rarities, cult oddities and one-offs.\u003c/p>\n\u003cp>“Music Mondays” kicks off the week, and while music documentaries are certainly a subgenre, they don’t draw the same loyal following week in and week out. A given film will attract fans of the artist or of that branch of music, but not “music fans,” per se. \u003c/p>\n\u003cp>Keegan envisions dedicating Thursday nights to community screenings, with a rotation comprised of the multitude of local film festivals and ancillary organizations. A certain amount of trial and error can be expected in the first few months, which is fine with him. After all, if you aspire to inspire people who aren’t in the habit to become regular moviegoers, you’re going to have some misses. Keegan, like most programmers, loves hearing feedback.\u003c/p>\n\u003cp>“I view it as a conversation,” he explains, “and the initial calendars are conversation starters.”\u003c/p>\n\u003cp>Yes, the New Mission will print and distribute somewhere between 10 and 30,000 calendars every month — the number will shake out over time, another product of trial and error — to laundromats, cafes and record stores. Or, as Keegan puts it, “Wherever people read a free piece of paper.”\u003c/p>\n\u003cfigure id=\"attachment_11144838\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Railing.jpg\" alt=\"Detail of the lobby railing during construction, April 2015.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11144838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Railing.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Railing-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of the lobby railing during construction, April 2015. \u003ccite>(Photo: Jacob Zukerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, the backdrop to the opening of a new movie house at the present moment is the ubiquity of streaming, and the instant availability of moving-image entertainment. Going to theaters for entertainment is a relic of the past, many people think, especially when there are so many compelling television series to watch. League disagrees, as you’d expect from someone who has sunk a large chunk of change into a five-screen movie house.\u003c/p>\n\u003cp>“I’ve always thought of ourselves as having a different set of competition,” he says. “No matter how good your home entertainment center is, or long-form TV, you want to get out of the house. We compete against the bars, shows, comedy. We want to make sure our experience is compelling enough to compete against the other outside-the-house entertainment options.”\u003c/p>\n\u003cp>League is right about the bars (d)evolving into the default social activity for San Franciscans of a certain age. As a devotee of movies and theaters — which I assume you are as well, if you’ve stuck with the story this far — you’re rooting for League and Keegan to establish the New Mission as not just an alluring entertainment option, or a successful business, but as an institution that nourishes and advances film culture. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Is that asking too much of a multiplex that raises its curtain with the unholy offspring of George Lucas and J.J. Abrams? Let’s discuss it over a pint in six months.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>UPDATE:\u003c/strong> (Dec. 11, 4pm)\u003c/p>\n\u003cp>Though the official opening date is Thursday, Dec. 17, the Alamo Drafthouse will have a “soft opening” for the New Mission Theater this Saturday, Dec. 12. For movie listings, visit the \u003ca href=\"https://drafthouse.com/sf/calendar/new-mission\" target=\"_blank\" rel=\"noopener\">theater’s website\u003c/a>. \u003c/p>\n\u003cp>Alamo Drafthouse, along with production company \u003ca href=\"http://www.annapurnapics.com/main/#about\" target=\"_blank\" rel=\"noopener\">Annapurna Pictures,\u003c/a> have also made a deal with the former San Francisco video store Le Video to help preserve their famous collection of over 90,000 titles. Read more about the deal \u003ca href=\"http://ww2.kqed.org/news/2015/12/09/alamo-drafthouse-makes-deal-to-preserve-titles-from-le-video-collection\" target=\"_blank\" rel=\"noopener\">on KQED News\u003c/a>. \u003c/p>\n\u003cp>\u003cb>Original story:\u003c/b>\u003c/p>\n\u003cp>By my reckoning, the Metreon multiplex was the last new movie theater to open in San Francisco, in 1999. A few exhibitors have since popped for pricey reconfigurations and renovations (Sundance Kabuki, Landmark’s Embarcadero Center Cinema), but nobody has had the ambition and confidence to either build from scratch or reclaim and restore a shuttered cinema in the 21st century — until now. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Dec. 17, the \u003ca href=\"https://drafthouse.com/sf\" target=\"_blank\" rel=\"noopener\">New Mission Theater\u003c/a> reopens under the auspices of Alamo Drafthouse, the quirky and influential Austin-based chain founded by Berkeley native Tim League and his wife, Karrie.\u003c/p>\n\u003cfigure id=\"attachment_11144837\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Exterior.jpg\" alt=\"The marquee on Mission Street.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11144837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Exterior.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Exterior-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">The marquee on Mission Street. \u003ccite>(Courtesy: Mike Keegan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The centerpiece of the massively refurbished New Mission, on Mission St between 21st and 22nd Streets, is a 320-seat house augmented by four theaters scaling from 90 down to 34 seats. Although it’s a neighborhood theater, like the vast majority of S.F. cinemas, it will attract moviegoers from all over the city for at least the first several months. (New movie theaters, like new ballparks, have a galvanizing effect on the public. Call it the “new seat effect.”)\u003c/p>\n\u003cp>As long as we’re talking about the (infra)structure, the New Mission features a significant bar/lounge space that League envisions as a destination even if customers aren’t up for a movie. This writer, however, imagines Bear Vs Bull, as it’s called, jammed with people jabbering about the film they just saw. \u003c/p>\n\u003cp>“What I like to do,” League agrees, “and why we have a bar at all our theaters, after I watch an incredible movie the first thing I want to do is sit down over a beer or a cocktail and talk about it.” Whoever’s downing ‘em, the libations and comestibles comprise an important revenue stream to recoup Drafthouse’s reported $10 million investment in the New Mission.\u003c/p>\n\u003cp>Audiences, admittedly, aren’t much interested in whether the profit margin is greater for a pint and a portobello sandwich than basic popcorn and soda. And after the novelty of the new theater wears off, regular moviegoers will be less concerned with the configuration of the screening rooms and the comfort of the seats than with what’s on the screen. So the most compelling question is, what will the New Mission be showing?\u003c/p>\n\u003cfigure id=\"attachment_11144834\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Construction.jpg\" alt=\"New Mission lobby staircase under construction, April 2015.\" width=\"1200\" height=\"795\" class=\"size-full wp-image-11144834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-960x636.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">New Mission lobby staircase under construction, April 2015. \u003ccite>(Photo: Jacob Zukerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The very first booking, a low-budget, under-the-radar sequel entitled \u003cem>Star Wars: Episode VII: The Force Awakens\u003c/em>, feels more like an acknowledgement of financial realities than the first step in instilling the New Mission’s identity. My conversations with League and creative manager Mike Keegan, a familiar face from his years at the Roxie, indicates that they are ecumenical and egalitarian movie lovers whose tastes encompass high and low, quality and exploitation, Bergman-esque philosophy and Pavlovian action, without fear or favor. So booking a blockbuster shouldn’t be viewed as either shamelessly selling out or violating monastic precepts but an embrace of all kinds of movies — in this case, popular mainstream fare.\u003c/p>\n\u003cp>Of course, a steady diet of that stuff — as well as popcorn and cola — makes you flabby, soft and stupid. In any event, the New Mission will do consistently terrific business on the weekends, regardless of whether its offerings are comic-book movies or character-based dramas (aka arthouse fare), because that’s when people go to the movies. The overriding challenge the New Mission faces is filling the place on weeknights. Here’s where it gets interesting.\u003c/p>\n\u003cp>Keegan, who holds the keys to the programming kingdom, is merging Alamo Drafthouse’s experience in Texas and other markets with his own experiments. His first job in the film biz a little over a decade ago was as a parking lot attendant at the Spectrum in Albany, New York; he wound up managing the place and booking midnight movies. He joined the Roxie’s merry programmers in 2008, shortly after he moved to San Francisco. \u003c/p>\n\u003cp>At the New Mission, Keegan declares, “We’re here to build film lovers. And a time-honored way to build film lovers is through genre film.”\u003c/p>\n\u003cfigure id=\"attachment_11144835\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Construction2.jpg\" alt=\"New Mission main auditorium under construction, April 2015.\" width=\"1200\" height=\"795\" class=\"size-full wp-image-11144835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-960x636.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">New Mission main auditorium under construction, April 2015. \u003ccite>(Photo: Jacob Zukerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, League, his wife and various associates compiled a library of some 5,000 35mm prints from which the Alamo Drafthouse theaters curate weeknight series. Keegan practically rubs his hands together in glee and cackles over the imminent prospect of transporting those popular Drafthouse theme nights to San Francisco. “Terror Tuesday” will feature a steady stream of horror movies of every conceivable stripe, while “Weird Wednesday” encompasses exploitation movies, bizarre rarities, cult oddities and one-offs.\u003c/p>\n\u003cp>“Music Mondays” kicks off the week, and while music documentaries are certainly a subgenre, they don’t draw the same loyal following week in and week out. A given film will attract fans of the artist or of that branch of music, but not “music fans,” per se. \u003c/p>\n\u003cp>Keegan envisions dedicating Thursday nights to community screenings, with a rotation comprised of the multitude of local film festivals and ancillary organizations. A certain amount of trial and error can be expected in the first few months, which is fine with him. After all, if you aspire to inspire people who aren’t in the habit to become regular moviegoers, you’re going to have some misses. Keegan, like most programmers, loves hearing feedback.\u003c/p>\n\u003cp>“I view it as a conversation,” he explains, “and the initial calendars are conversation starters.”\u003c/p>\n\u003cp>Yes, the New Mission will print and distribute somewhere between 10 and 30,000 calendars every month — the number will shake out over time, another product of trial and error — to laundromats, cafes and record stores. Or, as Keegan puts it, “Wherever people read a free piece of paper.”\u003c/p>\n\u003cfigure id=\"attachment_11144838\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Railing.jpg\" alt=\"Detail of the lobby railing during construction, April 2015.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11144838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Railing.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Railing-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of the lobby railing during construction, April 2015. \u003ccite>(Photo: Jacob Zukerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, the backdrop to the opening of a new movie house at the present moment is the ubiquity of streaming, and the instant availability of moving-image entertainment. Going to theaters for entertainment is a relic of the past, many people think, especially when there are so many compelling television series to watch. League disagrees, as you’d expect from someone who has sunk a large chunk of change into a five-screen movie house.\u003c/p>\n\u003cp>“I’ve always thought of ourselves as having a different set of competition,” he says. “No matter how good your home entertainment center is, or long-form TV, you want to get out of the house. We compete against the bars, shows, comedy. We want to make sure our experience is compelling enough to compete against the other outside-the-house entertainment options.”\u003c/p>\n\u003cp>League is right about the bars (d)evolving into the default social activity for San Franciscans of a certain age. As a devotee of movies and theaters — which I assume you are as well, if you’ve stuck with the story this far — you’re rooting for League and Keegan to establish the New Mission as not just an alluring entertainment option, or a successful business, but as an institution that nourishes and advances film culture. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Is that asking too much of a multiplex that raises its curtain with the unholy offspring of George Lucas and J.J. Abrams? Let’s discuss it over a pint in six months.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Hooray for amateurs — the masses of people who exercise their creative muscles for the sheer heck of it and not for money or fame. If more of us spent our spare time learning to dance like Beyonce, writing novels in only a month, and taking improv classes, there’d probably be fewer wars. \u003c/span>\u003c/p>\n\u003cp>Needless to say, the Bay Area is fairly bonkers with opportunities for artistic endeavor for residents and visitors of all ages, ethnicities and cultural interests. And d\u003cspan style=\"font-weight: 400\">uring the holiday season, participation in everything from karaoke at the company Christmas party to the local orchestra’s \u003cem>Singalong \u003c/em>\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Messiah\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, goes way up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I wanted to include in this week’s survey of performing arts events a couple of proudly amateur happenings alongside stuff that’s more pro. It’s the first of what I hope will be many nods to the everyday folks who get their kicks from all manner of artistic pastimes, as well as a couple of the institutions that help to make all this creativity possible for cultural hobbyists around the Bay.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141039\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/david-haneke-usher.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11141039 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-800x466.jpg\" alt=\"A scene from 'The Fall of the House of Usher' at San Francisco Opera\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978.jpg 863w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Fall of the House of Usher’ at San Francisco Opera \u003ccite>(Photo: David Haneke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tuesday, Dec. 8 – Sunday, Dec. 13: San Francisco Opera presents \u003c/b>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/the-fall-of-the-house-of-usher/\">\u003cb>\u003ci>The Fall of the House of Usher\u003c/i>\u003c/b>\u003c/a>\u003cb> at the War Memorial Opera House, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">That Edgar Allan Poe’s spectral story about a mentally unstable brother, his physically unstable twin sister, and the craggy-decrepit fortress in which they live has captured the minds of opera creators for well over a century is no surprise: This supreme work of Gothic schlockery (on par with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Raven\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">) is full of the stuff — an unlikely plot, characters on the brink of death and madness, lightning — that makes opera fans drool. French Impressionist Claude Debussy, American Minimalist Philip Glass and British prog rock songwriter Peter Hammill are among those who have excavated Poe’s story for the opera stage. The San Francisco Opera’s double-bill of short, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Usher\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">-inspired works combines Debussy’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">La Chute de la Maison Usher\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and American composer Gordon Getty’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Usher House\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to create an evening of stormy music and imposing visuals. Both works star Brian Mulligan, who chilled Bay Area audiences’ bones in the role of Sweeney Todd at San Francisco Opera earlier this season and may do the same now as the emotionally volatile Roderick Usher. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141045\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11141045\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-800x524.jpg\" alt=\"'Drag Queens on Ice'\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-1180x773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-1920x1257.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Drag Queens on Ice’ \u003ccite>(Photo: Jerry Yim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Thursday, Dec. 10: \u003c/b>\u003ca href=\"http://sf.funcheap.com/drag-queens-ice-union-square/\">\u003cb>\u003ci>Drag Queens on Ice\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Union Square holiday ice rink, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">Forget the imposing Christmas tree and the streams of sweating shoppers barging their way into Macy’s. You only truly know the holidays have arrived when a bunch of San Francisco’s most celebrated drag queens exchange their heels for ice skates and take to the rink in Union Square. Although the event feels a little like a publicity stunt for big business — Safeway, Bank of the West and Alaska Airlines all have their names slapped on this icecapade — performances in the great art of lip-synching by the likes of Mutha Chuka, Paju Munro, and BeBe Sweetbriar while careening across the ice will doubtless bring some much-needed lipstick, lamế and levity to the downtown holiday shopping scramble.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Thursday, Dec. 10: \u003c/b>\u003ca href=\"http://www.eventbrite.com/e/james-bond-007-dance-party-theme-thursdays-opal-mtn-vw-tickets-19774119925\">\u003cb>\u003ci>James Bond 007 Dance Party\u003c/i>\u003c/b>\u003c/a>\u003cb> at Opal, Mountain View. \u003c/b>\u003cspan style=\"font-weight: 400\">Sometimes the best arts events are the ones you get to participate in yourself. And while it’s become commonplace for karaoke aficionados across the land to give their all to renditions of everything from Shirley Bassey’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Diamonds are Forever\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to Adele’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Skyfall\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, hitting the dance floor to express one’s love for all things 007 hasn’t quite yet become quite as run-of-the-mill. Opal, a well-appointed nightspot in Mountain View, is offering Bond fans the chance to sashay to the music that’s helped to make the long-running franchise one of the most revered in pop culture history. Whether you’re attired in Bond Girl chic, a bespoke tuxedo or your regular street clothes, this dance party is a great way to decompress after seeing the latest Bond flick, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Spectre\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, showing just the down the road at the local Century 16. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Friday, Dec. 11 – Sunday, Dec. 20: California Revels presents \u003c/b>\u003ca href=\"http://californiarevels.org/2015_christmas-revels\">\u003cb>\u003ci>Christmas Revels: A Venetian Masque\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Scottish Rite Theater, Oakland. \u003c/b>\u003cspan style=\"font-weight: 400\">For the past 30 years, the California Revels has injected a fat dose of folk culture into the local holiday season — and has become as beloved a fixture as a favorite tree ornament in the process. This year’s event, which brings together pros like Jeff Raz and Robert Sicular with amateur performers from all over the community, takes its cue from the \u003c/span>\u003cspan style=\"font-weight: 400\">Commedia dell’Arte performance traditions of the early 17th century. The schtick revolves around a bunch of ragtag comedians as they attempt to sabotage a classy masque thrown by the Doge of Venice. Expect a riotous combustion of high and low art, voluminous costumes and plenty of audience participation.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11141040 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-800x528.jpg\" alt=\"FaultLine Theatre: The team behind 'Dead Dogs Bone.'\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-1920x1266.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-960x633.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">FaultLine Theatre: The team behind ‘Dead Dogs Bone.’ \u003ccite>(Photo: Clive Walker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Friday, Dec. 11 – Saturday, Dec. 19: FaultLine Theatre presents \u003c/b>\u003ca href=\"http://www.faultlinetheater.com/#!dead-dogs-bone/c1mro\">\u003cb>\u003ci>Dead Dog’s Bone\u003c/i>\u003c/b>\u003c/a>\u003cb> at PianoFight, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">Cole Ferraiuolo, artistic director of FaultLine Theater, described his company’s latest production in an email to me as an “anti-Christmas, Christmas play.” It’s an astute description for the up-and-coming local dramatist Veronica Tjioe’s bleak comedy, which explores how a commitment-phobic twenty-something copes with the impending death of the family dog and her abhorrence of plastic Christmas trees. FaultLine was nominated for 15 Theater Bay Area Awards this year, and Dead Dog’s Bone is the final show of the hardworking young company’s season. \u003c/span>\u003c/p>\n\u003cp>And I can’t let you go without sharing a few more suggestions:\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 13: 42nd Street Moon presents \u003c/b>\u003ca href=\"http://www.42ndstmoon.org/scrooge-in-love\">\u003cb>\u003ci>Scrooge in Love\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Eureka Theatre, San Francisco.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 20: TheatreFIRST presents \u003c/b>\u003ca href=\"http://www.theatrefirst.com/the-seafarer/\">\u003cb>\u003ci>The Seafarer\u003c/i>\u003c/b> \u003c/a>\u003cb>at the Live Oak Theatre, Berkeley.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 13: \u003c/b>\u003ca href=\"http://www.emspacedance.org/emspace-detour/\">\u003cb>EmSpace Dance and Detour Dance\u003c/b>\u003c/a>\u003cb> at NOHspace, San Francisco.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Hooray for amateurs — the masses of people who exercise their creative muscles for the sheer heck of it and not for money or fame. If more of us spent our spare time learning to dance like Beyonce, writing novels in only a month, and taking improv classes, there’d probably be fewer wars. \u003c/span>\u003c/p>\n\u003cp>Needless to say, the Bay Area is fairly bonkers with opportunities for artistic endeavor for residents and visitors of all ages, ethnicities and cultural interests. And d\u003cspan style=\"font-weight: 400\">uring the holiday season, participation in everything from karaoke at the company Christmas party to the local orchestra’s \u003cem>Singalong \u003c/em>\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Messiah\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, goes way up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I wanted to include in this week’s survey of performing arts events a couple of proudly amateur happenings alongside stuff that’s more pro. It’s the first of what I hope will be many nods to the everyday folks who get their kicks from all manner of artistic pastimes, as well as a couple of the institutions that help to make all this creativity possible for cultural hobbyists around the Bay.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141039\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/david-haneke-usher.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11141039 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-800x466.jpg\" alt=\"A scene from 'The Fall of the House of Usher' at San Francisco Opera\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978.jpg 863w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Fall of the House of Usher’ at San Francisco Opera \u003ccite>(Photo: David Haneke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tuesday, Dec. 8 – Sunday, Dec. 13: San Francisco Opera presents \u003c/b>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/the-fall-of-the-house-of-usher/\">\u003cb>\u003ci>The Fall of the House of Usher\u003c/i>\u003c/b>\u003c/a>\u003cb> at the War Memorial Opera House, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">That Edgar Allan Poe’s spectral story about a mentally unstable brother, his physically unstable twin sister, and the craggy-decrepit fortress in which they live has captured the minds of opera creators for well over a century is no surprise: This supreme work of Gothic schlockery (on par with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Raven\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">) is full of the stuff — an unlikely plot, characters on the brink of death and madness, lightning — that makes opera fans drool. French Impressionist Claude Debussy, American Minimalist Philip Glass and British prog rock songwriter Peter Hammill are among those who have excavated Poe’s story for the opera stage. The San Francisco Opera’s double-bill of short, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Usher\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">-inspired works combines Debussy’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">La Chute de la Maison Usher\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and American composer Gordon Getty’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Usher House\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to create an evening of stormy music and imposing visuals. Both works star Brian Mulligan, who chilled Bay Area audiences’ bones in the role of Sweeney Todd at San Francisco Opera earlier this season and may do the same now as the emotionally volatile Roderick Usher. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141045\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11141045\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-800x524.jpg\" alt=\"'Drag Queens on Ice'\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-1180x773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-1920x1257.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Drag Queens on Ice’ \u003ccite>(Photo: Jerry Yim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Thursday, Dec. 10: \u003c/b>\u003ca href=\"http://sf.funcheap.com/drag-queens-ice-union-square/\">\u003cb>\u003ci>Drag Queens on Ice\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Union Square holiday ice rink, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">Forget the imposing Christmas tree and the streams of sweating shoppers barging their way into Macy’s. You only truly know the holidays have arrived when a bunch of San Francisco’s most celebrated drag queens exchange their heels for ice skates and take to the rink in Union Square. Although the event feels a little like a publicity stunt for big business — Safeway, Bank of the West and Alaska Airlines all have their names slapped on this icecapade — performances in the great art of lip-synching by the likes of Mutha Chuka, Paju Munro, and BeBe Sweetbriar while careening across the ice will doubtless bring some much-needed lipstick, lamế and levity to the downtown holiday shopping scramble.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Thursday, Dec. 10: \u003c/b>\u003ca href=\"http://www.eventbrite.com/e/james-bond-007-dance-party-theme-thursdays-opal-mtn-vw-tickets-19774119925\">\u003cb>\u003ci>James Bond 007 Dance Party\u003c/i>\u003c/b>\u003c/a>\u003cb> at Opal, Mountain View. \u003c/b>\u003cspan style=\"font-weight: 400\">Sometimes the best arts events are the ones you get to participate in yourself. And while it’s become commonplace for karaoke aficionados across the land to give their all to renditions of everything from Shirley Bassey’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Diamonds are Forever\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to Adele’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Skyfall\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, hitting the dance floor to express one’s love for all things 007 hasn’t quite yet become quite as run-of-the-mill. Opal, a well-appointed nightspot in Mountain View, is offering Bond fans the chance to sashay to the music that’s helped to make the long-running franchise one of the most revered in pop culture history. Whether you’re attired in Bond Girl chic, a bespoke tuxedo or your regular street clothes, this dance party is a great way to decompress after seeing the latest Bond flick, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Spectre\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, showing just the down the road at the local Century 16. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Friday, Dec. 11 – Sunday, Dec. 20: California Revels presents \u003c/b>\u003ca href=\"http://californiarevels.org/2015_christmas-revels\">\u003cb>\u003ci>Christmas Revels: A Venetian Masque\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Scottish Rite Theater, Oakland. \u003c/b>\u003cspan style=\"font-weight: 400\">For the past 30 years, the California Revels has injected a fat dose of folk culture into the local holiday season — and has become as beloved a fixture as a favorite tree ornament in the process. This year’s event, which brings together pros like Jeff Raz and Robert Sicular with amateur performers from all over the community, takes its cue from the \u003c/span>\u003cspan style=\"font-weight: 400\">Commedia dell’Arte performance traditions of the early 17th century. The schtick revolves around a bunch of ragtag comedians as they attempt to sabotage a classy masque thrown by the Doge of Venice. Expect a riotous combustion of high and low art, voluminous costumes and plenty of audience participation.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11141040 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-800x528.jpg\" alt=\"FaultLine Theatre: The team behind 'Dead Dogs Bone.'\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-1920x1266.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-960x633.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">FaultLine Theatre: The team behind ‘Dead Dogs Bone.’ \u003ccite>(Photo: Clive Walker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Friday, Dec. 11 – Saturday, Dec. 19: FaultLine Theatre presents \u003c/b>\u003ca href=\"http://www.faultlinetheater.com/#!dead-dogs-bone/c1mro\">\u003cb>\u003ci>Dead Dog’s Bone\u003c/i>\u003c/b>\u003c/a>\u003cb> at PianoFight, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">Cole Ferraiuolo, artistic director of FaultLine Theater, described his company’s latest production in an email to me as an “anti-Christmas, Christmas play.” It’s an astute description for the up-and-coming local dramatist Veronica Tjioe’s bleak comedy, which explores how a commitment-phobic twenty-something copes with the impending death of the family dog and her abhorrence of plastic Christmas trees. FaultLine was nominated for 15 Theater Bay Area Awards this year, and Dead Dog’s Bone is the final show of the hardworking young company’s season. \u003c/span>\u003c/p>\n\u003cp>And I can’t let you go without sharing a few more suggestions:\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 13: 42nd Street Moon presents \u003c/b>\u003ca href=\"http://www.42ndstmoon.org/scrooge-in-love\">\u003cb>\u003ci>Scrooge in Love\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Eureka Theatre, San Francisco.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 20: TheatreFIRST presents \u003c/b>\u003ca href=\"http://www.theatrefirst.com/the-seafarer/\">\u003cb>\u003ci>The Seafarer\u003c/i>\u003c/b> \u003c/a>\u003cb>at the Live Oak Theatre, Berkeley.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 13: \u003c/b>\u003ca href=\"http://www.emspacedance.org/emspace-detour/\">\u003cb>EmSpace Dance and Detour Dance\u003c/b>\u003c/a>\u003cb> at NOHspace, San Francisco.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The undergraduate dance major at Oakland’s Mills College –- part of one of the oldest and most respected dance programs in this country — will be spared from budget cuts, school officials announced Monday.\u003c/p>\n\u003cp>Facing a serious budget shortfall, school president Alecia DeCoudreaux proposed \u003ca href=\"http://ww2.kqed.org/arts/2015/11/20/a-fierce-debate-about-art-and-identity-at-mills-college/\" target=\"_blank\" rel=\"noopener\">cuts to a number of programs back in October\u003c/a>. Among those proposed cuts was the undergraduate dance major and the school’s book arts program, as well as some language classes.\u003c/p>\n\u003cp>Then just before noon Monday, Mills officials announced that the school would make changes in order to allow undergrads to major in dance. They said they have developed a plan to save the dance program that involves lowering expenses, reducing course requirements and streamlining class schedules. \u003c/p>\n\u003cp>According to a press release sent out Monday, the decision to keep the undergraduate dance major is part of school’s vision to “continuously reimagine curriculum for the needs of current and incoming students.” This has included school faculty proposing new programs for data science, economics, urban studies and many more. These proposals are expected to go before the Mills trustees in May.\u003c/p>\n\u003cp>School officials also said that they are “evaluating fundraising opportunities” to help create a endowment to support the book arts program after an outpouring of support for it from the international community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Sara Hossaini contributed reporting to this story. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Follow this story as it will be updated when new information is learned.\u003c/p>\n\n",
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"description": "The undergraduate dance major at Oakland's Mills College –- part of one of the oldest and most respected dance programs in this country -- will be spared from budget cuts, school officials announced Monday. Facing a serious budget shortfall, school president Alecia DeCoudreaux proposed cuts to a number of programs back in October. Among those proposed cuts was the undergraduate dance major and the school's book arts program, as well as some language classes. Then just before noon Monday, Mills officials announced that the school would make changes in order to allow undergrads to major in dance. They said they",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The undergraduate dance major at Oakland’s Mills College –- part of one of the oldest and most respected dance programs in this country — will be spared from budget cuts, school officials announced Monday.\u003c/p>\n\u003cp>Facing a serious budget shortfall, school president Alecia DeCoudreaux proposed \u003ca href=\"http://ww2.kqed.org/arts/2015/11/20/a-fierce-debate-about-art-and-identity-at-mills-college/\" target=\"_blank\" rel=\"noopener\">cuts to a number of programs back in October\u003c/a>. Among those proposed cuts was the undergraduate dance major and the school’s book arts program, as well as some language classes.\u003c/p>\n\u003cp>Then just before noon Monday, Mills officials announced that the school would make changes in order to allow undergrads to major in dance. They said they have developed a plan to save the dance program that involves lowering expenses, reducing course requirements and streamlining class schedules. \u003c/p>\n\u003cp>According to a press release sent out Monday, the decision to keep the undergraduate dance major is part of school’s vision to “continuously reimagine curriculum for the needs of current and incoming students.” This has included school faculty proposing new programs for data science, economics, urban studies and many more. These proposals are expected to go before the Mills trustees in May.\u003c/p>\n\u003cp>School officials also said that they are “evaluating fundraising opportunities” to help create a endowment to support the book arts program after an outpouring of support for it from the international community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Sara Hossaini contributed reporting to this story. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Follow this story as it will be updated when new information is learned.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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?",
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"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",
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
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