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Instead, one of Lucas’ beloved creations, the feisty droid R2-D2, rolled onstage and projected her image.\u003c/p>\n\u003cp>“I wanted to be there to help celebrate your Kennedy Center honor in person, but hey, since you invented video voicemail, I don’t have to be,” Fisher said.\u003c/p>\n\u003cp>Steven Spielberg and Martin Scorsese, fellow directors who along with Lucas brought new energy to American cinema in the 1970s, offered more conventional tributes to the \u003cem>Star Wars\u003c/em> creator, hailing him for his technological wizardry and his commitment to storytelling.\u003c/p>\n\u003cp>Lucas also created the \u003cem>Indiana Jones\u003c/em> franchise, directed by Spielberg, and his special-effects company, Industrial Light & Magic, had a part in seven of the top 10 grossing movies of all time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He’s a pathfinder and a pioneer like Edison and Bell and Tesla and Jobs,” Spielberg said. “George Lucas’ \u003cem>Star Wars\u003c/em> absolutely changed films forever.”\u003c/p>\n\u003cp>\u003cem>The Force Awakens,\u003c/em> the seventh movie in the franchise and the first made without Lucas’ involvement as director, producer or writer, opens Dec. 18 and is expected to be one of the highest-grossing films in history.\u003c/p>\n\u003cp>As the crowd of Washington power brokers and Hollywood celebrities stood and applauded, Lucas waved from a balcony, wearing the honorees’ signature rainbow-colored garland. 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Her memorable performances include \u003cem>The Autobiography of Miss Jane Pittman\u003c/em>, which won her an Emmy, and the groundbreaking miniseries \u003cem>Roots\u003c/em>. She won a lead-actress Tony just two years ago and now, at age 90, she’s starring on Broadway alongside James Earl Jones in \u003cem>The Gin Game\u003c/em>.\u003c/p>\n\u003cp>“She turned down more roles than you could imagine because they didn’t lift or serve us as a people,” actor-director Tyler Perry said. “For six decades, she has been diligent in her pursuit to better us all.”\u003c/p>\n\u003cp>Ozawa, who was born in China to Japanese parents, began conducting as a teenager in Japan after World War II. He went on to lead the Boston Symphony Orchestra for 29 years. 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It will be broadcast Dec. 29 on CBS.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The technology that George Lucas brought to moviemaking came back to haunt him at the Kennedy Center Honors.\u003c/p>\n\u003cp>As the tribute to Lucas began at Sunday night’s gala honoring him and four others for contributing to American culture through the arts, the crowd was asked to welcome Carrie Fisher. But the star of the original \u003cem>Star Wars\u003c/em> trilogy and the upcoming \u003cem>Star Wars: The Force Awakens\u003c/em> didn’t appear in person. Instead, one of Lucas’ beloved creations, the feisty droid R2-D2, rolled onstage and projected her image.\u003c/p>\n\u003cp>“I wanted to be there to help celebrate your Kennedy Center honor in person, but hey, since you invented video voicemail, I don’t have to be,” Fisher said.\u003c/p>\n\u003cp>Steven Spielberg and Martin Scorsese, fellow directors who along with Lucas brought new energy to American cinema in the 1970s, offered more conventional tributes to the \u003cem>Star Wars\u003c/em> creator, hailing him for his technological wizardry and his commitment to storytelling.\u003c/p>\n\u003cp>Lucas also created the \u003cem>Indiana Jones\u003c/em> franchise, directed by Spielberg, and his special-effects company, Industrial Light & Magic, had a part in seven of the top 10 grossing movies of all time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He’s a pathfinder and a pioneer like Edison and Bell and Tesla and Jobs,” Spielberg said. “George Lucas’ \u003cem>Star Wars\u003c/em> absolutely changed films forever.”\u003c/p>\n\u003cp>\u003cem>The Force Awakens,\u003c/em> the seventh movie in the franchise and the first made without Lucas’ involvement as director, producer or writer, opens Dec. 18 and is expected to be one of the highest-grossing films in history.\u003c/p>\n\u003cp>As the crowd of Washington power brokers and Hollywood celebrities stood and applauded, Lucas waved from a balcony, wearing the honorees’ signature rainbow-colored garland. Next to him were first lady Michelle Obama and his fellow honorees: singer-songwriter Carole King, actress and singer Rita Moreno, conductor Seiji Ozawa and actress Cicely Tyson.\u003c/p>\n\u003cp>President Barack Obama was a late arrival to the event after delivering a rare televised address in which he said America would overcome the threat posed by Islamic State militants.\u003c/p>\n\u003cp>Moreno, a native of Puerto Rico who started dancing at age 9, became the first Latina to win an Academy Award when she was honored for her performance as Anita in \u003cem>West Side Story\u003c/em>. Now a Berkeley resident, she was honored for her diverse and boundary-pushing career, including memorable stints on children’s television.\u003c/p>\n\u003cp>Moreno is one of a handful of artists to win an Oscar, Emmy, Grammy and Tony. At an earlier White House ceremony for the honorees, Obama said she pushed back against Hollywood typecasting.\u003c/p>\n\u003cp>“She’s still a leading lady of her era, a trailblazer with courage to break through barriers and forge new paths,” Obama said.\u003c/p>\n\u003cp>Tributes to Moreno came from her \u003cem>Jane the Virgin\u003c/em> co-star, Gina Rodriguez, and Rosie Perez, who sang “Fever” with the overzealous Animal of “The Muppets” on drums — a performance Moreno originated, winning an Emmy. They said Moreno paved the way for themselves and other Latino actors.\u003c/p>\n\u003cp>“She was herself,” Perez said. “She celebrated her heritage but did not stereotype it.”\u003c/p>\n\u003cp>Tyson, a longtime star of stage and screen, has said the honor validated her decision to turn down many roles as she tried to find meaningful work as a black woman. Her memorable performances include \u003cem>The Autobiography of Miss Jane Pittman\u003c/em>, which won her an Emmy, and the groundbreaking miniseries \u003cem>Roots\u003c/em>. She won a lead-actress Tony just two years ago and now, at age 90, she’s starring on Broadway alongside James Earl Jones in \u003cem>The Gin Game\u003c/em>.\u003c/p>\n\u003cp>“She turned down more roles than you could imagine because they didn’t lift or serve us as a people,” actor-director Tyler Perry said. “For six decades, she has been diligent in her pursuit to better us all.”\u003c/p>\n\u003cp>Ozawa, who was born in China to Japanese parents, began conducting as a teenager in Japan after World War II. He went on to lead the Boston Symphony Orchestra for 29 years. Violinist Itzhak Perlman and soprano Renee Fleming paid tribute to him during Sunday’s honors, which also included a performance by past honoree Yo-Yo Ma.\u003c/p>\n\u003cp>King was inducted into the Songwriters’ Hall of Fame nearly 30 years ago for her broad influence on pop music, which helped shape the sounds of the 1960s and 70s. She has written more than 100 hit singles, including “The Loco-Motion,” ”One Fine Day” and “I’m into Something Good.” Her first solo album, \u003cem>Tapestry\u003c/em>, is one if the highest-selling albums of all time.\u003c/p>\n\u003cp>Aretha Franklin, wearing a full-length fur coat over her evening gown, closed the show with a performance of a song that she immortalized: “Natural Woman,” leading to a prolonged standing ovation.\u003c/p>\n\u003cp>This marks the 38th year of the Kennedy Center Honors, and the event had new producers for the first time. Stephen Colbert of CBS’ \u003ci>The Late Show\u003c/i> hosted the gala for the second consecutive year. It will be broadcast Dec. 29 on CBS.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sweden Gives 'We Should All Be Feminists' to Every 16-Year-Old Student",
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"content": "\u003cp>Sweden has distributed author Chimamanda Ngozi Adichie’s feminist manifesto, “We Should All Be Feminists,” to every 16-year-old student in the country.\u003c/p>\n\u003cp>The Swedish Women’s Lobby partnered with other groups to launch the initiative on Dec. 1, in the hopes of \u003ca href=\"http://sverigeskvinnolobby.se/en/we-should-all-be-feminists-chimamanda-ngozi-adichies-book-is-distributed-as-a-gift-to-all-swedish-high-schools/\" target=\"_blank\" rel=\"noopener\">sparking dialogue\u003c/a> about feminism in \u003ca href=\"http://reports.weforum.org/global-gender-gap-report-2014/rankings/\" target=\"_blank\" rel=\"noopener\">one of the most gender-equal countries\u003c/a> in the world.\u003c/p>\n\u003cp>“This is the book that I wish all of my male classmates would have read when I was 16,” Clara Berglund, president of the Swedish Women’s Lobby, \u003ca href=\"http://www.theguardian.com/books/2015/dec/04/every-16-year-old-in-sweden-to-receive-copy-of-we-should-all-be-feminists\" target=\"_blank\" rel=\"noopener\">told The Guardian\u003c/a>. “It feels so important to contribute to this project. It is a gift to all second-grade high-school students, but it is also a gift to ourselves and future generations.”\u003c/p>\n\u003cp>The give-away was wholly uncontroversial in Sweden.\u003c/p>\n\u003cp>“Gender equality is one of the cornerstones of Swedish society,” Sweden’s \u003ca href=\"https://sweden.se/society/gender-equality-in-sweden/\" target=\"_blank\" rel=\"noopener\">official gender equality website\u003c/a> says. In a country where “gender mainstreaming” is a key governmental strategy to ensuring equality, 12 of 24 government ministers are currently women, and the law mandates that both parents get 480 days of parental leave, the distribution of a feminist pamphlet barely registered on Swedes’ radar. (In fact, several of my Swedish friends, one a journalist, didn’t even know about the project.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To the extent that it was noticed, the initiative was met with praise. Although, one Swedish columnist offered mild criticism, writing that Swedish high school students, reared with the ideals of feminism, may find the \u003ca href=\"http://www.svd.se/varfor-delar-man-ut-daterad-feminism-till-eleverna\">book’s contents old-fashioned\u003c/a>.\u003c/p>\n\u003cp>Adiche, who is from Nigeria and lives in the U.S., based the essay on her \u003ca href=\"https://www.youtube.com/watch?v=hg3umXU_qWc\" target=\"_blank\" rel=\"noopener\">2012 TED Talk\u003c/a> which has been viewed more than 2 million times. Even Beyonce incorporated part of the speech into \u003ca href=\"https://www.youtube.com/watch?v=IyuUWOnS9BY\" target=\"_blank\" rel=\"noopener\">her song “Flawless.\u003c/a>”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hg3umXU_qWc\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the essay, Adichie writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Some people ask: ‘Why the word feminist? Why not just say you are a believer in human rights, or something like that?’ Because that would be dishonest. Feminism is, of course, part of human rights in general – but to choose to use the vague expression human rights is to deny the specific and particular problem of gender. It would be a way of pretending that it was not women who have, for centuries, been excluded. It would be a way of denying that the problem of gender targets women. That the problem was not about being human, but specifically about being a female human. For centuries, the world divided human beings into two groups and then proceeded to exclude and oppress one group. It is only fair that the solution to the problem acknowledge that.”\u003c/p>\n\u003c/blockquote>\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=Sweden+Gives+%27We+Should+All+Be+Feminists%27+To+Every+16-Year-Old+Student&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sweden has distributed author Chimamanda Ngozi Adichie’s feminist manifesto, “We Should All Be Feminists,” to every 16-year-old student in the country.\u003c/p>\n\u003cp>The Swedish Women’s Lobby partnered with other groups to launch the initiative on Dec. 1, in the hopes of \u003ca href=\"http://sverigeskvinnolobby.se/en/we-should-all-be-feminists-chimamanda-ngozi-adichies-book-is-distributed-as-a-gift-to-all-swedish-high-schools/\" target=\"_blank\" rel=\"noopener\">sparking dialogue\u003c/a> about feminism in \u003ca href=\"http://reports.weforum.org/global-gender-gap-report-2014/rankings/\" target=\"_blank\" rel=\"noopener\">one of the most gender-equal countries\u003c/a> in the world.\u003c/p>\n\u003cp>“This is the book that I wish all of my male classmates would have read when I was 16,” Clara Berglund, president of the Swedish Women’s Lobby, \u003ca href=\"http://www.theguardian.com/books/2015/dec/04/every-16-year-old-in-sweden-to-receive-copy-of-we-should-all-be-feminists\" target=\"_blank\" rel=\"noopener\">told The Guardian\u003c/a>. “It feels so important to contribute to this project. It is a gift to all second-grade high-school students, but it is also a gift to ourselves and future generations.”\u003c/p>\n\u003cp>The give-away was wholly uncontroversial in Sweden.\u003c/p>\n\u003cp>“Gender equality is one of the cornerstones of Swedish society,” Sweden’s \u003ca href=\"https://sweden.se/society/gender-equality-in-sweden/\" target=\"_blank\" rel=\"noopener\">official gender equality website\u003c/a> says. In a country where “gender mainstreaming” is a key governmental strategy to ensuring equality, 12 of 24 government ministers are currently women, and the law mandates that both parents get 480 days of parental leave, the distribution of a feminist pamphlet barely registered on Swedes’ radar. (In fact, several of my Swedish friends, one a journalist, didn’t even know about the project.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To the extent that it was noticed, the initiative was met with praise. Although, one Swedish columnist offered mild criticism, writing that Swedish high school students, reared with the ideals of feminism, may find the \u003ca href=\"http://www.svd.se/varfor-delar-man-ut-daterad-feminism-till-eleverna\">book’s contents old-fashioned\u003c/a>.\u003c/p>\n\u003cp>Adiche, who is from Nigeria and lives in the U.S., based the essay on her \u003ca href=\"https://www.youtube.com/watch?v=hg3umXU_qWc\" target=\"_blank\" rel=\"noopener\">2012 TED Talk\u003c/a> which has been viewed more than 2 million times. Even Beyonce incorporated part of the speech into \u003ca href=\"https://www.youtube.com/watch?v=IyuUWOnS9BY\" target=\"_blank\" rel=\"noopener\">her song “Flawless.\u003c/a>”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hg3umXU_qWc'\n title='//www.youtube.com/embed/hg3umXU_qWc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>In the essay, Adichie writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“Some people ask: ‘Why the word feminist? Why not just say you are a believer in human rights, or something like that?’ Because that would be dishonest. Feminism is, of course, part of human rights in general – but to choose to use the vague expression human rights is to deny the specific and particular problem of gender. It would be a way of pretending that it was not women who have, for centuries, been excluded. It would be a way of denying that the problem of gender targets women. That the problem was not about being human, but specifically about being a female human. For centuries, the world divided human beings into two groups and then proceeded to exclude and oppress one group. It is only fair that the solution to the problem acknowledge that.”\u003c/p>\n\u003c/blockquote>\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=Sweden+Gives+%27We+Should+All+Be+Feminists%27+To+Every+16-Year-Old+Student&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Pageant of the Pigeons Celebrates a Much-Maligned Creature",
"title": "Pageant of the Pigeons Celebrates a Much-Maligned Creature",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Judy puffs up her chest and shows off her white coat, cooing at onlookers. She's not your typical beauty contestant. She's a pigeon.\u003c/p>\n\u003cp>She was one of more than 4,000 birds that stuffed the Los Angeles Pigeon Club's \u003ca href=\"http://www.losangelespigeonclub.com/pageant-of-pigeons.html\" target=\"_blank\">Pageant of the Pigeons\u003c/a>, which wrapped up recently at the Ontario Convention Center, about 35 miles east of Los Angeles.\u003c/p>\n\u003cp>The pageant has been held every year since 1946. The largest fancy pigeon show in California -- and one of the largest in the country -- has become a pre-Thanksgiving tradition for bird lovers. It's like a dog show for pigeons.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/236143120\" 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>And like a winning canine, Judy knows how to strut her stuff. The Pomeranian pouter hangs out near her owner in one of the rows of double-stacked cages. The all-white bird looks like she's swallowed a tennis ball, with the pocket below her beak poofed up with air.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Hello! Coo! Hello,\" Judy's owner, Kathie Johnson, coos at her, \"Oh, you are so pretty!\"\u003c/p>\n\u003cfigure id=\"attachment_10782315\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10782315\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/KathieJohnson.jpg\" alt=\"Kathie Johnson of Orange County shows off one of her award-winning Pomeranian pouters.\" width=\"1920\" height=\"1668\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/KathieJohnson.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/KathieJohnson-400x348.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/KathieJohnson-800x695.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/KathieJohnson-1440x1251.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/KathieJohnson-1180x1025.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/KathieJohnson-960x834.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kathie Johnson of Orange County shows off one of her award-winning Pomeranian pouters. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson, who lives in Orange County, talks to an onlooker about the bird, which won a champion title at a nationwide competition earlier this year.\u003c/p>\n\u003cp>Compared with a lot of the other competitors here, Johnson doesn't have very many companions for her Judy -- only 20 or 30 pigeons at home.\u003c/p>\n\u003cp>Johnson hasn't always been a pigeon raiser. She remembers playing with the birds at a friend's house when she was a kid, but she never got into them until another friend took her to a show about 20 years ago.\u003c/p>\n\u003cp>\"And I go, 'Look at those cute birds! They look like little teddy bears!' They were so cute and the vivid colors. They really did. And I fell in love with them,\" Johnson said.\u003c/p>\n\u003cp>Johnson said most people are baffled when they first find out she raises pigeons.\u003c/p>\n\u003cp>\"'Huh?'\" she said with a laugh. \"'You have pigeons?... You mean the flying rats?' Pigeons are anything but flying rats. They're very intelligent creatures.\"\u003c/p>\n\u003cfigure id=\"attachment_10782330\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10782330\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/Puffer.jpg\" alt=\"A white Pomeranian pouter puffs up inside its cage at the 2015 Pageant of the Pigeons in Ontario.\" width=\"1920\" height=\"1593\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/Puffer.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Puffer-400x332.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Puffer-800x664.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Puffer-1440x1195.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Puffer-1180x979.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Puffer-960x797.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A white Pomeranian pouter puffs up inside its cage at the 2015 Pageant of the Pigeons in Ontario. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson points to another woman walking down the aisle and calls her the \"Miss Disneyland of Pigeons.\"\u003c/p>\n\u003cp>The woman's name is Sieglinde Tate. And while her property near Pismo Beach in central California doesn't have roller coasters and rides, it does have pigeons: about 4,000 of them.\u003c/p>\n\u003cp>\"There's no reason I got started. I just did,\" Tate said. \"I started collecting all kinds of animals and I really stuck with pigeons.\"\u003c/p>\n\u003cp>Tate also has miniature horses, which sometimes try to follow her into the barn area where the birds roost.\u003c/p>\n\u003cp>Tate said she had to move to the country to accommodate her menagerie, which she started when she was 11 years old.\u003c/p>\n\u003caside class=\"pullquote alignright\">'[People] don’t realize there’s 300-something varieties of exotic pigeons.'\u003c/aside>\n\u003cp>\"It's hard to explain. They just permeate my whole life,\" Tate said. \"Everything I look at, I look at it in a way like, how can it help my pigeons or how can I convert it to a pigeon.\"\u003c/p>\n\u003cp>Tate doesn't sell her birds, like some people. She says she does it just for fun. Some of her pigeons are 18 years old. She likes to joke that part of her property has become a convalescent home for pigeons.\u003c/p>\n\u003cp>She said she likes coming to the pageant to see all of the birds and to see if she wants something new. But she admitted that most of the time, if she wants something new, she has to go to shows in Europe, where raising pigeons and showing them has a much longer tradition than in the U.S.\u003c/p>\n\u003cfigure id=\"attachment_10782319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10782319\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/FantailJudging.jpg\" alt=\"Competition judge Joe Schabert of Minnesota judges one of the American Fantail competitions. He said sometimes determining the winner can come down to something as minute as the tilt of its head.\" width=\"1920\" height=\"1312\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/FantailJudging.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/FantailJudging-400x273.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/FantailJudging-800x547.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/FantailJudging-1440x984.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/FantailJudging-1180x806.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/FantailJudging-960x656.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Competition judge Joe Schabert of Minnesota judges one of the American Fantail competitions. He said sometimes determining the winner can come down to something as minute as the tilt of its head. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Down at the end of the row of cages, against the wall of the exhibit hall, Joe Schabert stands in front of a special bank of lighted cages that make up a judging station. He opens cage doors and uses his hand to maneuver birds into position, so he can get a better look.\u003c/p>\n\u003cp>\"This is really one of the better classes so far,\" Schabert said to the group of a dozen or so people sitting in folding chairs in front of the cages.\u003c/p>\n\u003cp>Schabert is a judge of American Fantails at this competition. The birds have tail feathers that fan out like a peacock. Their chests puff up so far that their heads sink down below, making them look almost headless from the front.\u003c/p>\n\u003cfigure id=\"attachment_10782334\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10782334\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/Frillbacktho.jpg\" alt=\"The pigeons at the competition came in all shapes and sizes, including this one with curly feathers, known as a frillback pigeon.\" width=\"1920\" height=\"1235\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/Frillbacktho.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Frillbacktho-400x257.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Frillbacktho-800x515.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Frillbacktho-1440x926.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Frillbacktho-1180x759.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Frillbacktho-960x618.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The pigeons at the competition came in all shapes and sizes, including this one with curly feathers, known as a frillback pigeon. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This bird's a little heavier in the wings than I really care for. That's really its only problem,\" Shabert told the crowd as he eyed the three birds left in the cage at the end of a round of judging.\u003c/p>\n\u003cp>\"It's got good width of legs. It can angle 'em forward. The bird can walk. But it is heavier in the wings. I like to see a lot cleaner of a wing on a bird.\"\u003c/p>\n\u003cp>Schabert pointed to the birds.\u003c/p>\n\u003cp>\"That's No. 1. This bird here is No. 2,\" he said.\u003c/p>\n\u003cp>Schabert comes out from Minnesota every year to judge the competition. He says the birds are misunderstood.\u003c/p>\n\u003cp>\"The problem with the general public is they see so many wild pigeons and bridge pigeons and farm pigeons, and they don't realize there's 300-something varieties of exotic pigeons,\" Schabert said as he sat at a nearby table between rounds of judging.\u003c/p>\n\u003cp>He said that most of the people who enter the fancy pigeon competition want to have fun, but he said they also \"take their hobby pretty seriously.\"\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"full\" ids=\"10782324,10782327\"]\u003c/p>\n\u003cp>The birds come in all shapes and sizes: fat, skinny, tall, short, feathered feet, bald necks.\u003c/p>\n\u003cp>One popular bird here was the Jacobin. From the side, they look like punk rockers with wild hair. Their feathers shoot upward around the neck, forming an Elizabethan collar that buries the head.\u003c/p>\n\u003cp>But pigeon fanciers like 59-year-old Stan Fail of Turlock worry that even cool features like that won't be enough to attract younger folks to the hobby. The crowd at the pageant skews older and largely male.\u003c/p>\n\u003cp>\"My age and even a little older, people were into pigeons,\" Fail said. \"As technology, as computers and everything has come into play, kids and stuff like that are not part of this type of hobby.\"\u003c/p>\n\u003cp>Schabert agrees. He grew up catching and raising wild pigeons and has been judging since the 1970s.\u003c/p>\n\u003cp>\"When I was young, almost everybody either had a rabbit hutch or a pigeon coop or a chicken coop or a dog kennel in their backyard,\" Schabert remembered. \"And nowdays, society doesn't allow that.\"\u003c/p>\n\u003cp>Schabert said he worries the hobby won't stay around after the current generation passes on.\u003c/p>\n\u003cp>No one here is quite sure how to get more kids involved. They say it doesn't help that some cities have laws that either outlaw or put limits on the relatively quiet birds, often treating them the same as chickens.\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"full\" ids=\"10782343,10782344\"]\u003c/p>\n\u003cp>\"It varies from city to city to city,\" Pageant of the Pigeons organizer Fred Maenpa said. \"They have to be so far away from the house, so far away from the fence, so far away from your neighbors. And oh, you can only have four, you can only have 10, you can only have -- whatever the case might be.\"\u003c/p>\n\u003cp>Maenpa said he was forced to move from one Orange County city to another in order to keep his pigeons.\u003c/p>\n\u003cp>Maenpa, a retired teacher and coach, said it's sad that the birds' unwarranted reputation makes them harder to keep, especially in cities.\u003c/p>\n\u003cp>\"It is very relaxing. You go out there and, being a teacher, you never know what kind of day you had at school, and you go and you sit in your bird cage and they're all happy to see you,\" Maenpa said, laughing. \"Just like when you walk into your door and your dog can't wait to jump on your lap or whatever. Same thing.\"\u003c/p>\n\u003cp>Stan Fail knows that feeling. He said you can see it at competitions like the Pageant of the Pigeon.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"You'll find as you go around here that these people love these pigeons almost more than they do their husbands and wives,\" Fail said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Judy puffs up her chest and shows off her white coat, cooing at onlookers. She's not your typical beauty contestant. She's a pigeon.\u003c/p>\n\u003cp>She was one of more than 4,000 birds that stuffed the Los Angeles Pigeon Club's \u003ca href=\"http://www.losangelespigeonclub.com/pageant-of-pigeons.html\" target=\"_blank\">Pageant of the Pigeons\u003c/a>, which wrapped up recently at the Ontario Convention Center, about 35 miles east of Los Angeles.\u003c/p>\n\u003cp>The pageant has been held every year since 1946. The largest fancy pigeon show in California -- and one of the largest in the country -- has become a pre-Thanksgiving tradition for bird lovers. It's like a dog show for pigeons.\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/236143120&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/236143120'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And like a winning canine, Judy knows how to strut her stuff. The Pomeranian pouter hangs out near her owner in one of the rows of double-stacked cages. The all-white bird looks like she's swallowed a tennis ball, with the pocket below her beak poofed up with air.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Hello! Coo! Hello,\" Judy's owner, Kathie Johnson, coos at her, \"Oh, you are so pretty!\"\u003c/p>\n\u003cfigure id=\"attachment_10782315\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10782315\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/KathieJohnson.jpg\" alt=\"Kathie Johnson of Orange County shows off one of her award-winning Pomeranian pouters.\" width=\"1920\" height=\"1668\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/KathieJohnson.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/KathieJohnson-400x348.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/KathieJohnson-800x695.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/KathieJohnson-1440x1251.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/KathieJohnson-1180x1025.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/KathieJohnson-960x834.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kathie Johnson of Orange County shows off one of her award-winning Pomeranian pouters. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson, who lives in Orange County, talks to an onlooker about the bird, which won a champion title at a nationwide competition earlier this year.\u003c/p>\n\u003cp>Compared with a lot of the other competitors here, Johnson doesn't have very many companions for her Judy -- only 20 or 30 pigeons at home.\u003c/p>\n\u003cp>Johnson hasn't always been a pigeon raiser. She remembers playing with the birds at a friend's house when she was a kid, but she never got into them until another friend took her to a show about 20 years ago.\u003c/p>\n\u003cp>\"And I go, 'Look at those cute birds! They look like little teddy bears!' They were so cute and the vivid colors. They really did. And I fell in love with them,\" Johnson said.\u003c/p>\n\u003cp>Johnson said most people are baffled when they first find out she raises pigeons.\u003c/p>\n\u003cp>\"'Huh?'\" she said with a laugh. \"'You have pigeons?... You mean the flying rats?' Pigeons are anything but flying rats. They're very intelligent creatures.\"\u003c/p>\n\u003cfigure id=\"attachment_10782330\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10782330\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/Puffer.jpg\" alt=\"A white Pomeranian pouter puffs up inside its cage at the 2015 Pageant of the Pigeons in Ontario.\" width=\"1920\" height=\"1593\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/Puffer.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Puffer-400x332.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Puffer-800x664.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Puffer-1440x1195.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Puffer-1180x979.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Puffer-960x797.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A white Pomeranian pouter puffs up inside its cage at the 2015 Pageant of the Pigeons in Ontario. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson points to another woman walking down the aisle and calls her the \"Miss Disneyland of Pigeons.\"\u003c/p>\n\u003cp>The woman's name is Sieglinde Tate. And while her property near Pismo Beach in central California doesn't have roller coasters and rides, it does have pigeons: about 4,000 of them.\u003c/p>\n\u003cp>\"There's no reason I got started. I just did,\" Tate said. \"I started collecting all kinds of animals and I really stuck with pigeons.\"\u003c/p>\n\u003cp>Tate also has miniature horses, which sometimes try to follow her into the barn area where the birds roost.\u003c/p>\n\u003cp>Tate said she had to move to the country to accommodate her menagerie, which she started when she was 11 years old.\u003c/p>\n\u003caside class=\"pullquote alignright\">'[People] don’t realize there’s 300-something varieties of exotic pigeons.'\u003c/aside>\n\u003cp>\"It's hard to explain. They just permeate my whole life,\" Tate said. \"Everything I look at, I look at it in a way like, how can it help my pigeons or how can I convert it to a pigeon.\"\u003c/p>\n\u003cp>Tate doesn't sell her birds, like some people. She says she does it just for fun. Some of her pigeons are 18 years old. She likes to joke that part of her property has become a convalescent home for pigeons.\u003c/p>\n\u003cp>She said she likes coming to the pageant to see all of the birds and to see if she wants something new. But she admitted that most of the time, if she wants something new, she has to go to shows in Europe, where raising pigeons and showing them has a much longer tradition than in the U.S.\u003c/p>\n\u003cfigure id=\"attachment_10782319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10782319\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/FantailJudging.jpg\" alt=\"Competition judge Joe Schabert of Minnesota judges one of the American Fantail competitions. He said sometimes determining the winner can come down to something as minute as the tilt of its head.\" width=\"1920\" height=\"1312\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/FantailJudging.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/FantailJudging-400x273.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/FantailJudging-800x547.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/FantailJudging-1440x984.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/FantailJudging-1180x806.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/FantailJudging-960x656.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Competition judge Joe Schabert of Minnesota judges one of the American Fantail competitions. He said sometimes determining the winner can come down to something as minute as the tilt of its head. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Down at the end of the row of cages, against the wall of the exhibit hall, Joe Schabert stands in front of a special bank of lighted cages that make up a judging station. He opens cage doors and uses his hand to maneuver birds into position, so he can get a better look.\u003c/p>\n\u003cp>\"This is really one of the better classes so far,\" Schabert said to the group of a dozen or so people sitting in folding chairs in front of the cages.\u003c/p>\n\u003cp>Schabert is a judge of American Fantails at this competition. The birds have tail feathers that fan out like a peacock. Their chests puff up so far that their heads sink down below, making them look almost headless from the front.\u003c/p>\n\u003cfigure id=\"attachment_10782334\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10782334\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/Frillbacktho.jpg\" alt=\"The pigeons at the competition came in all shapes and sizes, including this one with curly feathers, known as a frillback pigeon.\" width=\"1920\" height=\"1235\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/Frillbacktho.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Frillbacktho-400x257.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Frillbacktho-800x515.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Frillbacktho-1440x926.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Frillbacktho-1180x759.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Frillbacktho-960x618.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The pigeons at the competition came in all shapes and sizes, including this one with curly feathers, known as a frillback pigeon. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This bird's a little heavier in the wings than I really care for. That's really its only problem,\" Shabert told the crowd as he eyed the three birds left in the cage at the end of a round of judging.\u003c/p>\n\u003cp>\"It's got good width of legs. It can angle 'em forward. The bird can walk. But it is heavier in the wings. I like to see a lot cleaner of a wing on a bird.\"\u003c/p>\n\u003cp>Schabert pointed to the birds.\u003c/p>\n\u003cp>\"That's No. 1. This bird here is No. 2,\" he said.\u003c/p>\n\u003cp>Schabert comes out from Minnesota every year to judge the competition. He says the birds are misunderstood.\u003c/p>\n\u003cp>\"The problem with the general public is they see so many wild pigeons and bridge pigeons and farm pigeons, and they don't realize there's 300-something varieties of exotic pigeons,\" Schabert said as he sat at a nearby table between rounds of judging.\u003c/p>\n\u003cp>He said that most of the people who enter the fancy pigeon competition want to have fun, but he said they also \"take their hobby pretty seriously.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The birds come in all shapes and sizes: fat, skinny, tall, short, feathered feet, bald necks.\u003c/p>\n\u003cp>One popular bird here was the Jacobin. From the side, they look like punk rockers with wild hair. Their feathers shoot upward around the neck, forming an Elizabethan collar that buries the head.\u003c/p>\n\u003cp>But pigeon fanciers like 59-year-old Stan Fail of Turlock worry that even cool features like that won't be enough to attract younger folks to the hobby. The crowd at the pageant skews older and largely male.\u003c/p>\n\u003cp>\"My age and even a little older, people were into pigeons,\" Fail said. \"As technology, as computers and everything has come into play, kids and stuff like that are not part of this type of hobby.\"\u003c/p>\n\u003cp>Schabert agrees. He grew up catching and raising wild pigeons and has been judging since the 1970s.\u003c/p>\n\u003cp>\"When I was young, almost everybody either had a rabbit hutch or a pigeon coop or a chicken coop or a dog kennel in their backyard,\" Schabert remembered. \"And nowdays, society doesn't allow that.\"\u003c/p>\n\u003cp>Schabert said he worries the hobby won't stay around after the current generation passes on.\u003c/p>\n\u003cp>No one here is quite sure how to get more kids involved. They say it doesn't help that some cities have laws that either outlaw or put limits on the relatively quiet birds, often treating them the same as chickens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"It varies from city to city to city,\" Pageant of the Pigeons organizer Fred Maenpa said. \"They have to be so far away from the house, so far away from the fence, so far away from your neighbors. And oh, you can only have four, you can only have 10, you can only have -- whatever the case might be.\"\u003c/p>\n\u003cp>Maenpa said he was forced to move from one Orange County city to another in order to keep his pigeons.\u003c/p>\n\u003cp>Maenpa, a retired teacher and coach, said it's sad that the birds' unwarranted reputation makes them harder to keep, especially in cities.\u003c/p>\n\u003cp>\"It is very relaxing. You go out there and, being a teacher, you never know what kind of day you had at school, and you go and you sit in your bird cage and they're all happy to see you,\" Maenpa said, laughing. \"Just like when you walk into your door and your dog can't wait to jump on your lap or whatever. Same thing.\"\u003c/p>\n\u003cp>Stan Fail knows that feeling. He said you can see it at competitions like the Pageant of the Pigeon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"You'll find as you go around here that these people love these pigeons almost more than they do their husbands and wives,\" Fail said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>UPDATE: Monte Vista is the \u003ca href=\"http://www.kdfc.com/Announcing-the-Winner-of-KDFC-s-Local-Vocals-High-/22256149\" target=\"_blank\" rel=\"noopener\">winner of Local Vocals 2015\u003c/a>. Competition organizer Gail Eichenthal writes the Danville finalist was the “clear winner,” even though the other finalists had “strong showings.” Eichenthal suspects “From the Top” may post videos from all three high schools online, even if Monte Vista will be the only one to enjoy a nationally broadcast performance, on March 27, 2016.\u003c/p>\n\u003cp>The musical competition has been with us for a long, long time, but \u003ca href=\"http://www.americanidol.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>American Idol\u003c/em>\u003c/a> took the form to a whole new level, reaching highs – and lows – never seen before. The show\u003cspan style=\"font-weight: 400\">’s phenomenal popularity has inspired a host of TV shows, movies and real-world competitions, including a high school choir sing-off going on right now in the San Francisco Bay Area.\u003c/span>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/236141441″ 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>Three choirs are in the run-off to win the chance to perform for a national audience in February. And as in American Idol, your vote could determine who wins.\u003c/p>\n\u003cp>Here’s one of the three finalists, the \u003ca href=\"https://www.facebook.com/Monte-Vista-High-School-Choir-140974959303697/?fref=nf\" target=\"_blank\" rel=\"noopener\">Monte Vista High School Chamber Singers\u003c/a> of Danville, singing “Pange Lingua:”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=8vhI9-SQLVc]\u003c/p>\n\u003cp>Not too shabby, right? Seventeen-year-old Tori Del Monte says the choir started working on the song at the beginning of the year.\u003c/p>\n\u003cp>“It was kind of an anthem, ringing in the back of our heads,” Del Monte said.\u003c/p>\n\u003cp>“Even on a bad day. Even when their diction is terrible. Their vowels are terrible. It’s still OK,” choir director Jodi Reed says while sitting opposite the choir, which is laughing along with her. “They’ll probably tell you I don’t complement them all that often. Or it’s back-handed complements. You know: it was \u003cem>almost\u003c/em> perfect! But sometimes I sit at the piano and I’m just overcome by ‘I cannot believe I get to do this every single day.'”\u003c/p>\n\u003cp>Monte Vista was one of 28 Bay Area schools that sent in videos to compete in the Local Vocals High School Sing Off organized by \u003ca href=\"http://www.kdfc.org\" target=\"_blank\" rel=\"noopener\">KDFC\u003c/a>, a local classical music radio station. President Bill Leuth came up with the idea.\u003c/p>\n\u003cp>“I know there’s a lot of talk about the demise of arts education,” Leuth says. “Yeah, it’s true and we all feel it. But there’s also some really good arts education that does go on, and this gives us a chance to say ‘Look at these choir directors, and what they’re doing with these kids.'” (It’s also true that Leuth sang in choir when he was in high school, and he remains a die-hard fan of the genre.)\u003c/p>\n\u003cp>The winner, to be announced Dec. 8, \u003cspan style=\"font-weight: 400\">gets to sing\u003c/span> \u003cspan style=\"font-weight: 400\">at San Jose State in February, a performance that will be nationally broadcast in March on “\u003ca href=\"http://www.fromthetop.org\" target=\"_blank\" rel=\"noopener\">From the Top\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">,”\u003c/span>\u003cspan style=\"font-weight: 400\"> a showcase for young classical musicians across the country. \u003c/span>\u003c/p>\n\u003cp>Danville, 45 minutes east of San Francisco, turns out to be a hotbed of high school classical choir talent. Neighborhood rival \u003ca href=\"https://www.facebook.com/San-Ramon-Voices-130595840303286/?fref=nf\" target=\"_blank\" rel=\"noopener\">San Ramon Valley High School\u003c/a>, featured on KQED’s \u003ca href=\"http://ww2.kqed.org/spark/san-ramon-valley-high-school-concert-choir/\" target=\"_blank\" rel=\"noopener\">Spark\u003c/a> not too long ago, also claimed a spot in the second round with “Ave Maris Stella.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=imt9y_q69jA]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monte Vista and San Ramon Valley have faced off before, in other competitions. What’s in the secret sauce? In large part, money, says San Ramon Valley Choir Director Ken Abrams.\u003c/span>\u003c/p>\n\u003cp>“Well, it’s a public school in that, yes, we get money from the state,” he says. “But we have a lot of parents that contribute and help and volunteer, so in many ways, we feel like a private school some days.”\u003c/p>\n\u003cp>Yes, his salary is covered in the school budget, he goes on to explain, but many of the extras — everything from the accompanist to international travel for the \u003cem>six\u003c/em> choirs at San Ramon Valley — are covered by a non-profit established expressly to support the choir program. After \u003ca href=\"http://ww2.kqed.org/lowdown/2015/10/29/the-taxpayers-revolt-how-proposition-13-changed-california-an-illustrated-explainer/\" target=\"_blank\" rel=\"noopener\">Proposition 13\u003c/a> gutted arts education funding across California, parents have done what they could to supplement extra-curricular programs. The wealthier the community, the fatter the coffers of the PTA and other booster organizations attached to public schools.\u003c/p>\n\u003cp>Abrams adds a choir is more than just a class, an academic resume booster for students intending to go on to college. These kids perform at local senior centers and community events, as well as at competitions.\u003c/p>\n\u003cp>The story is no different for the third Local Vocals finalist, \u003ca href=\"https://www.facebook.com/Gunn-High-School-Choir-135928676501600/?fref=nf\" target=\"_blank\" rel=\"noopener\">Gunn High School\u003c/a>, in Palo Alto, another wealthy neighborhood.\u003c/p>\n\u003cp>When asked about the way economic disparities play into high school arts, Leuth agreed hundreds of Bay Area schools are not represented. The competition is only in its first year, he noted, suggesting choir singers who don’t listen to KDFC may not have heard about the sing-off.\u003c/p>\n\u003cp>“Maybe it’s because our audience that listens to KDFC tends to be more upscale, because classical music still attracts that way,” Leuth says.\u003c/p>\n\u003cp>No professional choirs were allowed to participate, he added, or choirs that pull from multiple high schools. This competition, Leuth said, is meant to be a celebration of amateur effort at its finest. KDFC opted to keep the rules fairly loose to encourage more schools to participate, so contenders could apply with music that “leans” classical, even if it’s not, technically, classical.\u003c/p>\n\u003cp>The Gunn Concert Choir entered with music based on a poem, “I Am Not Yours,” by Sara Teasdale.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=dSKjR0P_zas]\u003c/p>\n\u003cp>There are two rounds in this competition. In the first round, the public advised a panel of judges who got to pick the three finalists. In the second round, the public vote determines the winner.\u003c/p>\n\u003cp>KDFC is bracing for an onslaught of clicks. An earlier contest in Los Angeles two years ago garnered 26,000 votes. Here in the Bay Area, more than 200,000 votes were cast in the semi-finals alone.\u003c/p>\n\u003cp>The judges were looking for cohesive and well-balanced sounds, rhythms, and dictions — and a strong men’s section. That’s something that eludes many high school choir programs, although “\u003ca href=\"http://www.fox.com/glee\" target=\"_blank\" rel=\"noopener\">Glee\u003c/a>” has done a lot to make singing more appealing to boys. Even so, mere mention of the TV show causes Liberatore to flinch.\u003c/p>\n\u003cp>“Did you notice that on Glee they don’t rehearse. Ever? They talk about their feelings. And then all of a sudden they jump up and the music is ready and perfect. I can’t stand that show!” Liberatore says.\u003c/p>\n\u003cp>He jokes that he’d be happy with placing in the finals. Planning a concert in February should Gunn would require a lot of work. But 16-year-old Olivia Eck is keeping her fingers crossed. “It’s really fun performing, especially with a crowd that’s really engaging with us. I think that’s the most exciting part.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/235770439″ 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>UPDATE: Monte Vista is the \u003ca href=\"http://www.kdfc.com/Announcing-the-Winner-of-KDFC-s-Local-Vocals-High-/22256149\" target=\"_blank\" rel=\"noopener\">winner of Local Vocals 2015\u003c/a>. Competition organizer Gail Eichenthal writes the Danville finalist was the “clear winner,” even though the other finalists had “strong showings.” Eichenthal suspects “From the Top” may post videos from all three high schools online, even if Monte Vista will be the only one to enjoy a nationally broadcast performance, on March 27, 2016.\u003c/p>\n\u003cp>The musical competition has been with us for a long, long time, but \u003ca href=\"http://www.americanidol.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>American Idol\u003c/em>\u003c/a> took the form to a whole new level, reaching highs – and lows – never seen before. The show\u003cspan style=\"font-weight: 400\">’s phenomenal popularity has inspired a host of TV shows, movies and real-world competitions, including a high school choir sing-off going on right now in the San Francisco Bay Area.\u003c/span>\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/236141441″&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/236141441″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Three choirs are in the run-off to win the chance to perform for a national audience in February. And as in American Idol, your vote could determine who wins.\u003c/p>\n\u003cp>Here’s one of the three finalists, the \u003ca href=\"https://www.facebook.com/Monte-Vista-High-School-Choir-140974959303697/?fref=nf\" target=\"_blank\" rel=\"noopener\">Monte Vista High School Chamber Singers\u003c/a> of Danville, singing “Pange Lingua:”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8vhI9-SQLVc'\n title='//www.youtube.com/embed/8vhI9-SQLVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Not too shabby, right? Seventeen-year-old Tori Del Monte says the choir started working on the song at the beginning of the year.\u003c/p>\n\u003cp>“It was kind of an anthem, ringing in the back of our heads,” Del Monte said.\u003c/p>\n\u003cp>“Even on a bad day. Even when their diction is terrible. Their vowels are terrible. It’s still OK,” choir director Jodi Reed says while sitting opposite the choir, which is laughing along with her. “They’ll probably tell you I don’t complement them all that often. Or it’s back-handed complements. You know: it was \u003cem>almost\u003c/em> perfect! But sometimes I sit at the piano and I’m just overcome by ‘I cannot believe I get to do this every single day.'”\u003c/p>\n\u003cp>Monte Vista was one of 28 Bay Area schools that sent in videos to compete in the Local Vocals High School Sing Off organized by \u003ca href=\"http://www.kdfc.org\" target=\"_blank\" rel=\"noopener\">KDFC\u003c/a>, a local classical music radio station. President Bill Leuth came up with the idea.\u003c/p>\n\u003cp>“I know there’s a lot of talk about the demise of arts education,” Leuth says. “Yeah, it’s true and we all feel it. But there’s also some really good arts education that does go on, and this gives us a chance to say ‘Look at these choir directors, and what they’re doing with these kids.'” (It’s also true that Leuth sang in choir when he was in high school, and he remains a die-hard fan of the genre.)\u003c/p>\n\u003cp>The winner, to be announced Dec. 8, \u003cspan style=\"font-weight: 400\">gets to sing\u003c/span> \u003cspan style=\"font-weight: 400\">at San Jose State in February, a performance that will be nationally broadcast in March on “\u003ca href=\"http://www.fromthetop.org\" target=\"_blank\" rel=\"noopener\">From the Top\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">,”\u003c/span>\u003cspan style=\"font-weight: 400\"> a showcase for young classical musicians across the country. \u003c/span>\u003c/p>\n\u003cp>Danville, 45 minutes east of San Francisco, turns out to be a hotbed of high school classical choir talent. Neighborhood rival \u003ca href=\"https://www.facebook.com/San-Ramon-Voices-130595840303286/?fref=nf\" target=\"_blank\" rel=\"noopener\">San Ramon Valley High School\u003c/a>, featured on KQED’s \u003ca href=\"http://ww2.kqed.org/spark/san-ramon-valley-high-school-concert-choir/\" target=\"_blank\" rel=\"noopener\">Spark\u003c/a> not too long ago, also claimed a spot in the second round with “Ave Maris Stella.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/imt9y_q69jA'\n title='//www.youtube.com/embed/imt9y_q69jA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monte Vista and San Ramon Valley have faced off before, in other competitions. What’s in the secret sauce? In large part, money, says San Ramon Valley Choir Director Ken Abrams.\u003c/span>\u003c/p>\n\u003cp>“Well, it’s a public school in that, yes, we get money from the state,” he says. “But we have a lot of parents that contribute and help and volunteer, so in many ways, we feel like a private school some days.”\u003c/p>\n\u003cp>Yes, his salary is covered in the school budget, he goes on to explain, but many of the extras — everything from the accompanist to international travel for the \u003cem>six\u003c/em> choirs at San Ramon Valley — are covered by a non-profit established expressly to support the choir program. After \u003ca href=\"http://ww2.kqed.org/lowdown/2015/10/29/the-taxpayers-revolt-how-proposition-13-changed-california-an-illustrated-explainer/\" target=\"_blank\" rel=\"noopener\">Proposition 13\u003c/a> gutted arts education funding across California, parents have done what they could to supplement extra-curricular programs. The wealthier the community, the fatter the coffers of the PTA and other booster organizations attached to public schools.\u003c/p>\n\u003cp>Abrams adds a choir is more than just a class, an academic resume booster for students intending to go on to college. These kids perform at local senior centers and community events, as well as at competitions.\u003c/p>\n\u003cp>The story is no different for the third Local Vocals finalist, \u003ca href=\"https://www.facebook.com/Gunn-High-School-Choir-135928676501600/?fref=nf\" target=\"_blank\" rel=\"noopener\">Gunn High School\u003c/a>, in Palo Alto, another wealthy neighborhood.\u003c/p>\n\u003cp>When asked about the way economic disparities play into high school arts, Leuth agreed hundreds of Bay Area schools are not represented. The competition is only in its first year, he noted, suggesting choir singers who don’t listen to KDFC may not have heard about the sing-off.\u003c/p>\n\u003cp>“Maybe it’s because our audience that listens to KDFC tends to be more upscale, because classical music still attracts that way,” Leuth says.\u003c/p>\n\u003cp>No professional choirs were allowed to participate, he added, or choirs that pull from multiple high schools. This competition, Leuth said, is meant to be a celebration of amateur effort at its finest. KDFC opted to keep the rules fairly loose to encourage more schools to participate, so contenders could apply with music that “leans” classical, even if it’s not, technically, classical.\u003c/p>\n\u003cp>The Gunn Concert Choir entered with music based on a poem, “I Am Not Yours,” by Sara Teasdale.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dSKjR0P_zas'\n title='//www.youtube.com/embed/dSKjR0P_zas'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There are two rounds in this competition. In the first round, the public advised a panel of judges who got to pick the three finalists. In the second round, the public vote determines the winner.\u003c/p>\n\u003cp>KDFC is bracing for an onslaught of clicks. An earlier contest in Los Angeles two years ago garnered 26,000 votes. Here in the Bay Area, more than 200,000 votes were cast in the semi-finals alone.\u003c/p>\n\u003cp>The judges were looking for cohesive and well-balanced sounds, rhythms, and dictions — and a strong men’s section. That’s something that eludes many high school choir programs, although “\u003ca href=\"http://www.fox.com/glee\" target=\"_blank\" rel=\"noopener\">Glee\u003c/a>” has done a lot to make singing more appealing to boys. Even so, mere mention of the TV show causes Liberatore to flinch.\u003c/p>\n\u003cp>“Did you notice that on Glee they don’t rehearse. Ever? They talk about their feelings. And then all of a sudden they jump up and the music is ready and perfect. I can’t stand that show!” Liberatore says.\u003c/p>\n\u003cp>He jokes that he’d be happy with placing in the finals. Planning a concert in February should Gunn would require a lot of work. But 16-year-old Olivia Eck is keeping her fingers crossed. “It’s really fun performing, especially with a crowd that’s really engaging with us. I think that’s the most exciting part.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>UPDATED:\u003c/b> Dec. 4, 1:16pm\u003c/p>\n\u003cp>Scott Weiland, the rock singer known around the world for his work with Stone Temple Pilots and Velvet Revolver, died Thursday night. He was 48.\u003c/p>\n\u003cp>Described by \u003ci>Rolling Stone\u003c/i> as having a “\u003ca href=\"http://www.rollingstone.com/music/news/scott-weiland-dead-at-48-20151204\" target=\"_blank\" rel=\"noopener\">instantly recognizable, iconic voice\u003c/a>,” Weiland apparently died in his sleep. He was found dead on his tour bus while his band the Wildabouts were stopped in Bloomington, Minn., according to his \u003ca href=\"https://www.facebook.com/ScottWeiland/photos/a.10150137794170685.284420.7752565684/10153146077925685/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. \u003c/p>\n\u003cp>Weiland was born Richard Scott Kline on Oct. 27, 1967 in San Jose, Calif. His parents divorced two years later. His mother then married David Weiland, who adopted Scott and gave him a new last name.\u003c/p>\n\u003cp>Weiland would co-found Stone Temple Pilots in 1986 in Southern California, going on to rule alternative radio in the ’90s with songs such as “Plush,” “Vaseline” and “Creep.” After breaking with the band in 2002, Weiland formed Velvet Revolver with former members of Guns ‘n’ Roses. He would play and record with Velvet Revolver until their breakup in 2008. Between the years of 2008 and 2012, Weiland would reunite with both groups, while also releasing albums under his own name, including a Christmas album titled \u003ci>The Most Wonderful Time of the Year.\u003c/i> \u003ci>Blaster,\u003c/i> his first album with the Wildabouts, was released earlier this year; he was scheduled to perform with the band Dec. 19 in Napa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though there have been no verified reports on the cause of death — those details are expected to be released Friday — Weiland had a long, \u003ca href=\"http://www.blabbermouth.net/news/velvet-revolver-singer-says-family-life-has-kept-him-off-drugs/\" target=\"_blank\" rel=\"noopener\">public battle with drug addiction\u003c/a>, beginning with his arrest for buying crack cocaine in 1995. \u003c/p>\n\u003cp>\u003ci>Update:\u003c/i> \u003ci>Rolling Stone\u003c/i> reports that after responding to his death, police found a small quantity of \u003ca href=\"http://www.rollingstone.com/music/news/scott-weilands-bus-bedroom-contained-cocaine-police-20151204\" target=\"_blank\" rel=\"noopener\">cocaine in Weiland’s room\u003c/a> on the Wildabouts tour bus. Further searches led to the discovery of more cocaine in the room of Wildabouts bassist Tommy Black, 47, who was arrested for possession of the controlled substance. \u003c/p>\n\u003cp>Also, Weiland’s former band the Stone Temple Pilots have released a statement on their Facebook page:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/stpband/posts/10153636913457906 \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATED:\u003c/b> Dec. 4, 1:16pm\u003c/p>\n\u003cp>Scott Weiland, the rock singer known around the world for his work with Stone Temple Pilots and Velvet Revolver, died Thursday night. He was 48.\u003c/p>\n\u003cp>Described by \u003ci>Rolling Stone\u003c/i> as having a “\u003ca href=\"http://www.rollingstone.com/music/news/scott-weiland-dead-at-48-20151204\" target=\"_blank\" rel=\"noopener\">instantly recognizable, iconic voice\u003c/a>,” Weiland apparently died in his sleep. He was found dead on his tour bus while his band the Wildabouts were stopped in Bloomington, Minn., according to his \u003ca href=\"https://www.facebook.com/ScottWeiland/photos/a.10150137794170685.284420.7752565684/10153146077925685/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. \u003c/p>\n\u003cp>Weiland was born Richard Scott Kline on Oct. 27, 1967 in San Jose, Calif. His parents divorced two years later. His mother then married David Weiland, who adopted Scott and gave him a new last name.\u003c/p>\n\u003cp>Weiland would co-found Stone Temple Pilots in 1986 in Southern California, going on to rule alternative radio in the ’90s with songs such as “Plush,” “Vaseline” and “Creep.” After breaking with the band in 2002, Weiland formed Velvet Revolver with former members of Guns ‘n’ Roses. He would play and record with Velvet Revolver until their breakup in 2008. Between the years of 2008 and 2012, Weiland would reunite with both groups, while also releasing albums under his own name, including a Christmas album titled \u003ci>The Most Wonderful Time of the Year.\u003c/i> \u003ci>Blaster,\u003c/i> his first album with the Wildabouts, was released earlier this year; he was scheduled to perform with the band Dec. 19 in Napa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though there have been no verified reports on the cause of death — those details are expected to be released Friday — Weiland had a long, \u003ca href=\"http://www.blabbermouth.net/news/velvet-revolver-singer-says-family-life-has-kept-him-off-drugs/\" target=\"_blank\" rel=\"noopener\">public battle with drug addiction\u003c/a>, beginning with his arrest for buying crack cocaine in 1995. \u003c/p>\n\u003cp>\u003ci>Update:\u003c/i> \u003ci>Rolling Stone\u003c/i> reports that after responding to his death, police found a small quantity of \u003ca href=\"http://www.rollingstone.com/music/news/scott-weilands-bus-bedroom-contained-cocaine-police-20151204\" target=\"_blank\" rel=\"noopener\">cocaine in Weiland’s room\u003c/a> on the Wildabouts tour bus. Further searches led to the discovery of more cocaine in the room of Wildabouts bassist Tommy Black, 47, who was arrested for possession of the controlled substance. \u003c/p>\n\u003cp>Also, Weiland’s former band the Stone Temple Pilots have released a statement on their Facebook page:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/stpband/posts/10153636913457906 \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Board of Supervisors on Tuesday approved a $290,000 payout to settle a lawsuit by the guitarist of rock band Journey that claimed the city unfairly jacked up fees to use a city landmark for his lavish wedding.\u003c/p>\n\u003cp>The full board voted unanimously to approve the settlement with Neal Schon.\u003c/p>\n\u003cp>Schon married \u003cem>Real Housewives of D.C.\u003c/em> star Michaele Salahi in December 2013 at the Palace of Fine Arts with a reception at an adjacent building that once housed the Exploratorium science museum.\u003c/p>\n\u003cp>Schon said he agreed to pay the city $58,000 for the use, but was surprised to learn days before the wedding that he would have to pay $240,000 for the opulent event to go on. He reluctantly paid, likening the price hike to “extortion.”\u003c/p>\n\u003cp>The couple sued in federal court in February, claiming that the city unfairly jacked up the fee after learning the couple planned to broadcast the event on pay-per-view.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>City Attorney Dennis Herrera initially defended the higher charge as appropriate for a commercial event.\u003c/p>\n\u003cp>Journey is a band nearly synonymous with San Francisco in some circles. Its song “Don’t Stop Believing” is the unofficial theme song of the San Francisco Giants.\u003c/p>\n\u003cp>Before starring in the 2010 season of “Housewives,” Salahi made headlines when she and her then-husband crashed a state dinner at the White House in 2009.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cp>PlayGround, an incubator for burgeoning Bay Area playwrights, announced Tuesday that it had signed a six-year master lease with San Francisco’s Thick House Theater, with the understanding that the organization would make significant improvements, such as installing air-conditioning and a new lighting system.\u003c/p>\n\u003cp>The incubator has occupied the the 78-seat black box theater for nine years, sharing it with local companies like Crowded Fire Theater Company and others. Now having signed a long-term master lease that includes an option to lease the theater until 2026, the organization will address issues such as the almost unbearable heat inside the performance area during the hotter spring and summer months, according to Jim Kleinmann, PlayGround’s artistic director. This will include air-conditioning, a new ventilation system and a specially-designed low heat LED stage lighting system. \u003c/p>\n\u003cp>“We’ll basically be getting the theater up to speed and bringing it into the 21st century,” said Kleinmann.\u003c/p>\n\u003cp>PlayGround has also launched a $260,000-capital campaign to cover the cost of the improvements as well as the loss of revenue during the six-to-eight weeks it anticipates to close the theater for construction. \u003c/p>\n\u003cp>According to \u003ca href=\"http://playground-sf.org/mission.shtml\" target=\"_blank\" rel=\"noopener\">its website\u003c/a>, PlayGround was started in 1994 and “has supported 185 early-career playwrights, developing and staging more than 650 of their original short plays.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Around this time of year, it’s easy to get wrapped up in the belief that there’s nothing going on around here except endless, mothballed productions of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">A Christmas Carol\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s true that there are probably more chestnuts on Bay Area stages than there are roasting on an open fire (at least in these parts). But it’s a “yes, and…”-type situation: The typical holiday season fare makes up only a small part of what’s on offer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was reminded of this fact over the weekend when, in a single day, I went from the kitsch jewel that is the annual \u003c/span>\u003ca href=\"http://www.dickensfair.com/\">\u003cb>Dickens Fair\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\"> at the Cow Palace to a head-spinning, hip-shimmying celebration of Cuban food, music and motion at \u003c/span>\u003ca href=\"http://dancemission.com/performances/upcoming.html#cubacaribe\">\u003cb>Dance Mission Theater\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watching Bay Area residents of all ages and ethnic backgrounds dressed up in bonnets and tailcoats, practicing their English accents, Morris dancing steps and sea-chantey singing, filled me with a kind of awe. There is such dedication and passion in the Dickens Fair community. And to go from this longstanding evocation of a quasi-mythical Christmas of yore in all its mustachioed, Victorian glory, to a very different yet equally committed cultural time-warp — \u003c/span>\u003cspan style=\"font-weight: 400\">a recreation of \u003c/span>\u003cspan style=\"font-weight: 400\">a night out at Havana’s fabled Tropicana nightclub — was deft proof of the depth and diversity of the Bay Area’s holiday season nightlife.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The organizers of the latter event (\u003c/span>\u003cspan style=\"font-weight: 400\">CubaCaribe and Dance Mission Theater)\u003c/span> \u003cspan style=\"font-weight: 400\">drew on members of the local Cuban community as well as nubile dancers imported from the homeland to conjure the spirit of the Caribbean island. The costumes were lurid and sparkly, the energy of the performances, unflagging. I staggered home, happy and exhausted, with rum on my tongue and the rhythm of the rumba in my ears.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With nods to shows that are all about Christmas, productions that capture the holiday spirit more obliquely, and events that apparently have little to do with the festive season beyond being scheduled to run in it, this week’s performing arts selections hopefully reflect more of the vitality and breadth of our region’s holiday time programming.\u003c/p>\n\u003cp>\u003cb>Now through Saturday, Dec. 19: Brian Copeland’s \u003c/b>\u003ca href=\"http://themarsh.org/jewelrybox/brian-copeland-3/\">\u003cb>\u003ci>The Jewelry Box\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Marsh, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">When you’re a 6-year-old kid growing up in the East Bay in the 1970s, how do you go about scrimping together the astronomical sum of $11.97 in order to buy your mom the ultimate Christmas gift? That’s the challenge facing the young protagonist in this autobiographical one-man show by Brian Copeland, the creator of long-running solo theater hits like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Not a Genuine Black Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Copeland is a wry, hilarious observer of his own childhood and surroundings. But there’s also a serious core to what’s essentially a heartwarming holiday show — especially in the way the performer describes the unsettling (and sadly still prescient) economic and racial disparities of Bay Area life 40 years ago. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11109950\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109950\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-800x410.jpg\" alt=\"Smuin Christmas Ballet\" width=\"800\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-800x410.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-400x205.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1180x605.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1920x984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-960x492.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smuin Christmas Ballet \u003ccite>(Photo: Chris Hardy/Smuin Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Now through Sunday, Dec. 27: Smuin Ballet presents \u003c/b>\u003ca href=\"http://smuinballet.org/buy-tickets-for-the-20152016-season/holiday-dance-program-the-christmas-ballet/\">\u003cb>\u003ci>The Christmas Ballet\u003c/i>\u003c/b>\u003c/a>\u003cb> at various locations throughout the Bay Area. \u003c/b>\u003cspan style=\"font-weight: 400\">The Smuin Ballet has been presenting this holiday tradition for more than 20 years. What keeps people coming back — other than the chance to enjoy a dance show that isn’t \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">or some derivative of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracke\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">r at this time of year — is the athleticism and fun of the choreography, the colorful creativity of the mise-en-scene, and the fact that there are always new, bite-sized items on the menu to stop things from feeling too much like party leftovers. This year’s production include a couple of fresh segments — a take on the beloved Christmas carol “Joy to the World” by company member \u003c/span>\u003cspan style=\"font-weight: 400\">dancer Nicole Haskins and choreographer-in-residence Amy Seiwert’s setting of “Home for the Holidays.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Wednesday, Dec. 2 – Saturday, Jan. 2: Theatreworks presents \u003c/b>\u003ca href=\"http://my.theatreworks.org/single/PSDetail.aspx?psn=3067\">\u003cb>\u003ci>Emma \u003c/i>\u003c/b>\u003c/a>\u003cb>at the Lucie Stern Theatre, Palo Alto. \u003c/b>\u003cspan style=\"font-weight: 400\">In January 1814, when Jane Austen embarked upon \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Emma, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">her novel about a young woman’s misguided attempts to play Cupid, the writer reportedly said, “I am going to take a heroine whom no one but myself will much like.” On the surface, composer/lyricist Paul Gordon’s bubbly take on the character is way more positive. Yet while Gordon’s 2007 musical (getting a re-run at Theatreworks, which premiered the piece in 2007) is on the whole a lovely, sugar-dusted confection — aided by the frosted pastel hues and clean lines of the Regency country manor–inspired set and the truffle-contoured costumes — shadows fitfully lurk under those empire-lined petticoats. Austen’s acerbic social commentary can’t help but smudge the musical’s shiny patina: The song “Hartfield” succinctly captures the pettiness, boredom, and claustrophobia of life around Emma’s Highbury home, while the ensemble number “Relations” (about the pros — and superficial cons — of being well-connected by birth) serves to highlight 19th-century class issues.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11109956\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109956\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-800x377.jpeg\" alt=\"Sarah Shelton Mann\" width=\"800\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-800x377.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-400x188.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-1180x556.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-1920x905.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-960x452.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sarah Shelton Mann \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Friday, Dec 4 – Saturday, Dec. 5: \u003c/b>\u003ca href=\"http://www.ybca.org/erasing-time\">\u003cb>\u003ci>Sarah Shelton Mann: Erasing Time\u003c/i>\u003c/b>\u003c/a>\u003cb> at Yerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">There are few figures who’ve exerted as great an influence on the Bay Area experimental performance scene as the multi-award-winning choreographer Sarah Shelton Mann. So it’s fitting that the first-ever retrospective of the artist’s career should be an epic one. During each of the two marathon, five-hour-long events at Yerba Buena Center for the Arts this weekend, Mann will direct, live in the space, some of her closest and longest-running collaborators in a world premiere that brings together dance, spoken word, music, and video installations. The event also includes a reimagining of one of Shelton Mann’s most seminal works, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Religare\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, from 1986. Bay Area performance stalwarts like Keith Hennessy, Jess Curtis and Kim Epifano made up the original cast of this desolate, violent, quasi-ritualistic piece; those same artists (plus many more) are part of YBCA’s celebration of Shelton Mann’s career.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Friday, Dec 4 – Sunday, Jan. 10: Shotgun Players present \u003c/b>\u003ca href=\"https://shotgunplayers.org/Online/mousetrap\">\u003cb>\u003ci>The Mousetrap\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Ashby Stage, Berkeley. \u003c/b>\u003cspan style=\"font-weight: 400\">For anyone who’s already had their fill of red-nosed reindeers, sugarplum fairies and their ilk this holiday season, the Berkeley-based company Shotgun Players has the perfect antidote in the shape of theater history’s most famous murder-mystery — and longest running show of any kind — \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Mousetrap\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Agatha Christie’s comedic 1952 potboiler investigates the fallout of a gruesome crime committed on the premises of a remote guest house. The fantastical whodunnit famously ends with a far-out twist — one which audiences are traditionally asked to keep to themselves. Shotgun Players revels in presenting holiday programming that’s just enough outside the realms of the typical fare to broaden the audience’s palette without putting them off their Christmas hams entirely. And this show, helmed by the company’s artistic director, Patrick Dooley, appears to fit the mandate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And a few more suggestions:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Wednesday, Dec. 2 – Thursday Dec. 10: \u003c/b>\u003ca href=\"http://sfoasis.com/event.cfm?id=156408&cart\">\u003cb>\u003ci>Absolutely Fabulous Live!: The Holiday Episodes\u003c/i>\u003c/b>\u003c/a>\u003cb> at Oasis, San Francisco\u003c/b>\u003c/p>\n\u003cp>\u003cb>Thursday, Dec. 3 – Saturday, Dec. 5: \u003c/b>\u003ca href=\"http://www.sfcurran.com/event/notes-of-a-native-song/\">\u003cb>\u003ci>Notes to a Native Song\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Curran Theatre, San Francisco\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Thursday, Dec 3 – Sunday, Dec. 20 \u003c/b>\u003ca href=\"http://www.hillbarntheatre.org/shows/fiddler-on-the-roof/\">\u003cb>\u003ci>Fiddler on the Roof\u003c/i>\u003c/b>\u003c/a>\u003cb> at Hillbarn Theatre, Foster City\u003c/b>\u003c/p>\n\n",
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"title": "Show Me Yours: Brian Copeland at The Marsh, Smuin Ballet, and more | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Around this time of year, it’s easy to get wrapped up in the belief that there’s nothing going on around here except endless, mothballed productions of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">A Christmas Carol\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s true that there are probably more chestnuts on Bay Area stages than there are roasting on an open fire (at least in these parts). But it’s a “yes, and…”-type situation: The typical holiday season fare makes up only a small part of what’s on offer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was reminded of this fact over the weekend when, in a single day, I went from the kitsch jewel that is the annual \u003c/span>\u003ca href=\"http://www.dickensfair.com/\">\u003cb>Dickens Fair\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\"> at the Cow Palace to a head-spinning, hip-shimmying celebration of Cuban food, music and motion at \u003c/span>\u003ca href=\"http://dancemission.com/performances/upcoming.html#cubacaribe\">\u003cb>Dance Mission Theater\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watching Bay Area residents of all ages and ethnic backgrounds dressed up in bonnets and tailcoats, practicing their English accents, Morris dancing steps and sea-chantey singing, filled me with a kind of awe. There is such dedication and passion in the Dickens Fair community. And to go from this longstanding evocation of a quasi-mythical Christmas of yore in all its mustachioed, Victorian glory, to a very different yet equally committed cultural time-warp — \u003c/span>\u003cspan style=\"font-weight: 400\">a recreation of \u003c/span>\u003cspan style=\"font-weight: 400\">a night out at Havana’s fabled Tropicana nightclub — was deft proof of the depth and diversity of the Bay Area’s holiday season nightlife.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The organizers of the latter event (\u003c/span>\u003cspan style=\"font-weight: 400\">CubaCaribe and Dance Mission Theater)\u003c/span> \u003cspan style=\"font-weight: 400\">drew on members of the local Cuban community as well as nubile dancers imported from the homeland to conjure the spirit of the Caribbean island. The costumes were lurid and sparkly, the energy of the performances, unflagging. I staggered home, happy and exhausted, with rum on my tongue and the rhythm of the rumba in my ears.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With nods to shows that are all about Christmas, productions that capture the holiday spirit more obliquely, and events that apparently have little to do with the festive season beyond being scheduled to run in it, this week’s performing arts selections hopefully reflect more of the vitality and breadth of our region’s holiday time programming.\u003c/p>\n\u003cp>\u003cb>Now through Saturday, Dec. 19: Brian Copeland’s \u003c/b>\u003ca href=\"http://themarsh.org/jewelrybox/brian-copeland-3/\">\u003cb>\u003ci>The Jewelry Box\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Marsh, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">When you’re a 6-year-old kid growing up in the East Bay in the 1970s, how do you go about scrimping together the astronomical sum of $11.97 in order to buy your mom the ultimate Christmas gift? That’s the challenge facing the young protagonist in this autobiographical one-man show by Brian Copeland, the creator of long-running solo theater hits like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Not a Genuine Black Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Copeland is a wry, hilarious observer of his own childhood and surroundings. But there’s also a serious core to what’s essentially a heartwarming holiday show — especially in the way the performer describes the unsettling (and sadly still prescient) economic and racial disparities of Bay Area life 40 years ago. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11109950\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109950\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-800x410.jpg\" alt=\"Smuin Christmas Ballet\" width=\"800\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-800x410.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-400x205.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1180x605.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1920x984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-960x492.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smuin Christmas Ballet \u003ccite>(Photo: Chris Hardy/Smuin Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Now through Sunday, Dec. 27: Smuin Ballet presents \u003c/b>\u003ca href=\"http://smuinballet.org/buy-tickets-for-the-20152016-season/holiday-dance-program-the-christmas-ballet/\">\u003cb>\u003ci>The Christmas Ballet\u003c/i>\u003c/b>\u003c/a>\u003cb> at various locations throughout the Bay Area. \u003c/b>\u003cspan style=\"font-weight: 400\">The Smuin Ballet has been presenting this holiday tradition for more than 20 years. What keeps people coming back — other than the chance to enjoy a dance show that isn’t \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">or some derivative of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracke\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">r at this time of year — is the athleticism and fun of the choreography, the colorful creativity of the mise-en-scene, and the fact that there are always new, bite-sized items on the menu to stop things from feeling too much like party leftovers. This year’s production include a couple of fresh segments — a take on the beloved Christmas carol “Joy to the World” by company member \u003c/span>\u003cspan style=\"font-weight: 400\">dancer Nicole Haskins and choreographer-in-residence Amy Seiwert’s setting of “Home for the Holidays.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Wednesday, Dec. 2 – Saturday, Jan. 2: Theatreworks presents \u003c/b>\u003ca href=\"http://my.theatreworks.org/single/PSDetail.aspx?psn=3067\">\u003cb>\u003ci>Emma \u003c/i>\u003c/b>\u003c/a>\u003cb>at the Lucie Stern Theatre, Palo Alto. \u003c/b>\u003cspan style=\"font-weight: 400\">In January 1814, when Jane Austen embarked upon \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Emma, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">her novel about a young woman’s misguided attempts to play Cupid, the writer reportedly said, “I am going to take a heroine whom no one but myself will much like.” On the surface, composer/lyricist Paul Gordon’s bubbly take on the character is way more positive. Yet while Gordon’s 2007 musical (getting a re-run at Theatreworks, which premiered the piece in 2007) is on the whole a lovely, sugar-dusted confection — aided by the frosted pastel hues and clean lines of the Regency country manor–inspired set and the truffle-contoured costumes — shadows fitfully lurk under those empire-lined petticoats. Austen’s acerbic social commentary can’t help but smudge the musical’s shiny patina: The song “Hartfield” succinctly captures the pettiness, boredom, and claustrophobia of life around Emma’s Highbury home, while the ensemble number “Relations” (about the pros — and superficial cons — of being well-connected by birth) serves to highlight 19th-century class issues.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11109956\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109956\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-800x377.jpeg\" alt=\"Sarah Shelton Mann\" width=\"800\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-800x377.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-400x188.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-1180x556.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-1920x905.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-960x452.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sarah Shelton Mann \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Friday, Dec 4 – Saturday, Dec. 5: \u003c/b>\u003ca href=\"http://www.ybca.org/erasing-time\">\u003cb>\u003ci>Sarah Shelton Mann: Erasing Time\u003c/i>\u003c/b>\u003c/a>\u003cb> at Yerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">There are few figures who’ve exerted as great an influence on the Bay Area experimental performance scene as the multi-award-winning choreographer Sarah Shelton Mann. So it’s fitting that the first-ever retrospective of the artist’s career should be an epic one. During each of the two marathon, five-hour-long events at Yerba Buena Center for the Arts this weekend, Mann will direct, live in the space, some of her closest and longest-running collaborators in a world premiere that brings together dance, spoken word, music, and video installations. The event also includes a reimagining of one of Shelton Mann’s most seminal works, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Religare\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, from 1986. Bay Area performance stalwarts like Keith Hennessy, Jess Curtis and Kim Epifano made up the original cast of this desolate, violent, quasi-ritualistic piece; those same artists (plus many more) are part of YBCA’s celebration of Shelton Mann’s career.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Friday, Dec 4 – Sunday, Jan. 10: Shotgun Players present \u003c/b>\u003ca href=\"https://shotgunplayers.org/Online/mousetrap\">\u003cb>\u003ci>The Mousetrap\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Ashby Stage, Berkeley. \u003c/b>\u003cspan style=\"font-weight: 400\">For anyone who’s already had their fill of red-nosed reindeers, sugarplum fairies and their ilk this holiday season, the Berkeley-based company Shotgun Players has the perfect antidote in the shape of theater history’s most famous murder-mystery — and longest running show of any kind — \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Mousetrap\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Agatha Christie’s comedic 1952 potboiler investigates the fallout of a gruesome crime committed on the premises of a remote guest house. The fantastical whodunnit famously ends with a far-out twist — one which audiences are traditionally asked to keep to themselves. Shotgun Players revels in presenting holiday programming that’s just enough outside the realms of the typical fare to broaden the audience’s palette without putting them off their Christmas hams entirely. And this show, helmed by the company’s artistic director, Patrick Dooley, appears to fit the mandate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And a few more suggestions:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Wednesday, Dec. 2 – Thursday Dec. 10: \u003c/b>\u003ca href=\"http://sfoasis.com/event.cfm?id=156408&cart\">\u003cb>\u003ci>Absolutely Fabulous Live!: The Holiday Episodes\u003c/i>\u003c/b>\u003c/a>\u003cb> at Oasis, San Francisco\u003c/b>\u003c/p>\n\u003cp>\u003cb>Thursday, Dec. 3 – Saturday, Dec. 5: \u003c/b>\u003ca href=\"http://www.sfcurran.com/event/notes-of-a-native-song/\">\u003cb>\u003ci>Notes to a Native Song\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Curran Theatre, San Francisco\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Dede Wilsey, San Francisco Fine Arts Museums board chair and CEO, is standing by her decision to pay an ailing former museum employee $450,000, despite not obtaining board approval beforehand.\u003c/p>\n\u003cp>In a memo sent to the board last week and obtained by \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/Dede-Wilsey-on-the-accurate-facts-in-museum-6661432.php\" target=\"_blank\" rel=\"noopener\">the San Francisco Chronicle\u003c/a>, telling members that the museums under her charge — the de Young Museum and Legion of Honor — have never been better off and that she did nothing wrong with the payment.\u003c/p>\n\u003cp>The payment became an issue when \u003ca href=\"http://ww2.kqed.org/arts/2015/10/20/san-francisco-museum-president-under-fire-for-unauthorized-payment/\" target=\"_blank\" rel=\"noopener\">former museum CFO Michele Gutierrez filed a complaint\u003c/a> with the city and state Attorney General Kamala Harris over the payment last month. Guiterrez was placed on administrative leave soon after the SF Chronicle \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/S-F-Fine-Arts-Museums-chief-Dede-Wilsey-accused-6575346.php\" target=\"_blank\" rel=\"noopener\">reported on her complaint\u003c/a>. \u003c/p>\n\u003cp>Read more about the memo and the controversy surrounding Wilsey \u003ca href=\"http://sfist.com/2015/11/30/oh_dear_dede_ms_wilsey_defiant_says.php\" target=\"_blank\" rel=\"noopener\">on SFist\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dede Wilsey, San Francisco Fine Arts Museums board chair and CEO, is standing by her decision to pay an ailing former museum employee $450,000, despite not obtaining board approval beforehand.\u003c/p>\n\u003cp>In a memo sent to the board last week and obtained by \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/Dede-Wilsey-on-the-accurate-facts-in-museum-6661432.php\" target=\"_blank\" rel=\"noopener\">the San Francisco Chronicle\u003c/a>, telling members that the museums under her charge — the de Young Museum and Legion of Honor — have never been better off and that she did nothing wrong with the payment.\u003c/p>\n\u003cp>The payment became an issue when \u003ca href=\"http://ww2.kqed.org/arts/2015/10/20/san-francisco-museum-president-under-fire-for-unauthorized-payment/\" target=\"_blank\" rel=\"noopener\">former museum CFO Michele Gutierrez filed a complaint\u003c/a> with the city and state Attorney General Kamala Harris over the payment last month. Guiterrez was placed on administrative leave soon after the SF Chronicle \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/S-F-Fine-Arts-Museums-chief-Dede-Wilsey-accused-6575346.php\" target=\"_blank\" rel=\"noopener\">reported on her complaint\u003c/a>. \u003c/p>\n\u003cp>Read more about the memo and the controversy surrounding Wilsey \u003ca href=\"http://sfist.com/2015/11/30/oh_dear_dede_ms_wilsey_defiant_says.php\" target=\"_blank\" rel=\"noopener\">on SFist\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Late last week, over three days, the San Francisco Police Department responded to 34 reports of citizens finding baseball bats, many full of nails, chained to utility poles around the city, mostly near Fisherman’s Wharf. In one case early Thursday morning, the bat looked as if it could be a pipe bomb — it was not — prompting a \u003ca href=\"http://sfist.com/2015/11/27/bizarre_weaponized_baseball_bats_fo.php\" target=\"_blank\" rel=\"noopener\">response from the SFPD Bomb Squad\u003c/a>.\u003c/p>\n\u003cp>As of Monday, Nov. 30, officers have yet to determine a suspect or a possible motive. But \u003ca href=\"https://twitter.com/KatieUtehs\" target=\"_blank\" rel=\"noopener\">KGO’s Katie Utehs\u003c/a>, who has been following the \u003ca href=\"http://abc7news.com/news/weapon-like-baseball-bats-found-chained-to-poles-throughout-sf/1101417/\" target=\"_blank\" rel=\"noopener\">story since Thursday\u003c/a>, spoke to a local resident who posited the idea that maybe the bats were part of an art project.\u003c/p>\n\u003cp>“Art project, freak people out, or a promotion or something,” San Francisco resident Gerrie Burke told KGO last Thursday.\u003c/p>\n\u003cp>As crazy as it might sound, there are precedents for Burke’s theories that the bats are art-related, the most notable of which took place not long after the 9/11 attacks in New York: Clinton Boisvert, a student from Manhattan’s School of Visual Arts, taped \u003ca href=\"http://www.nytimes.com/2002/12/17/nyregion/art-student-s-project-on-fear-becomes-a-lesson-in-the-law.html\" target=\"_blank\" rel=\"noopener\">37 black cardboard boxes with the words “Fear” written on them\u003c/a> around a NYC subway station. The boxes resulted in the shutdown of the station for hours while a bomb squad examined each of them, as well as the Boisvert’s arrest on the charge of “reckless endangerment.” The pieces, Boisvert told police, were for a sculpture class — at the time of the incident, his teacher said, Boisvert was an A student.\u003c/p>\n\u003cp>If, in a similar vein, San Francisco’s bats are indeed an art project, KQED’s visual arts editor Sarah Hotchkiss has issued the following grade: “If it is art, then it’s not very good art.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/KatieUtehs/status/671483337567899648\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Late last week, over three days, the San Francisco Police Department responded to 34 reports of citizens finding baseball bats, many full of nails, chained to utility poles around the city, mostly near Fisherman’s Wharf. In one case early Thursday morning, the bat looked as if it could be a pipe bomb — it was not — prompting a \u003ca href=\"http://sfist.com/2015/11/27/bizarre_weaponized_baseball_bats_fo.php\" target=\"_blank\" rel=\"noopener\">response from the SFPD Bomb Squad\u003c/a>.\u003c/p>\n\u003cp>As of Monday, Nov. 30, officers have yet to determine a suspect or a possible motive. But \u003ca href=\"https://twitter.com/KatieUtehs\" target=\"_blank\" rel=\"noopener\">KGO’s Katie Utehs\u003c/a>, who has been following the \u003ca href=\"http://abc7news.com/news/weapon-like-baseball-bats-found-chained-to-poles-throughout-sf/1101417/\" target=\"_blank\" rel=\"noopener\">story since Thursday\u003c/a>, spoke to a local resident who posited the idea that maybe the bats were part of an art project.\u003c/p>\n\u003cp>“Art project, freak people out, or a promotion or something,” San Francisco resident Gerrie Burke told KGO last Thursday.\u003c/p>\n\u003cp>As crazy as it might sound, there are precedents for Burke’s theories that the bats are art-related, the most notable of which took place not long after the 9/11 attacks in New York: Clinton Boisvert, a student from Manhattan’s School of Visual Arts, taped \u003ca href=\"http://www.nytimes.com/2002/12/17/nyregion/art-student-s-project-on-fear-becomes-a-lesson-in-the-law.html\" target=\"_blank\" rel=\"noopener\">37 black cardboard boxes with the words “Fear” written on them\u003c/a> around a NYC subway station. The boxes resulted in the shutdown of the station for hours while a bomb squad examined each of them, as well as the Boisvert’s arrest on the charge of “reckless endangerment.” The pieces, Boisvert told police, were for a sculpture class — at the time of the incident, his teacher said, Boisvert was an A student.\u003c/p>\n\u003cp>If, in a similar vein, San Francisco’s bats are indeed an art project, KQED’s visual arts editor Sarah Hotchkiss has issued the following grade: “If it is art, then it’s not very good art.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On Monday night, ABC will air a special at 7 p.m. called \u003cem>It’s Your 50th Christmas, Charlie Brown,\u003c/em> to mark the half-century since \u003cem>A Charlie Brown Christmas \u003c/em>first aired in 1965. Then at 8, it will air the special itself.\u003c/p>\n\u003cp>[contextly_sidebar id=”Xb1zRVabgdx7TjqNYtpKpOUNoGELDhGD”]\u003c/p>\n\u003cp>There’s so much about \u003cem>A Charlie Brown Christmas \u003c/em>that you’d never see on network television holiday specials now, I suspect. A special that, if not \u003cem>for\u003c/em> children, is certainly intended to be accessible \u003cem>by \u003c/em>children would never use that “guzzling Irish coffee in a bar on a snow-blanketed night in New York when you just got stood up but you feel weirdly OK about it” Vince Guaraldi music. Mass-marketed entertainment doesn’t tend to trust kids’ capacity to appreciate either stripped-down scores or the natural blues of winter that much. The kids’ chorus singing would be replaced by a Demi Lovato version of “The Little Drummer Boy” or something like that. Pardon the cynicism, but … wouldn’t it?\u003c/p>\n\u003cp>Watching the special now, its bleakness is palpable and bracing. It opens with Charlie Brown defining his problem in part as, in these words, “I’m not happy. I don’t feel the way I’m supposed to feel.” Straight-up dread, straight-up emotional emptiness. When Linus — who is, in many ways, the \u003cem>nice \u003c/em>one — tells him, “Of all the Charlie Browns in the world, you’re the Charlie Browniest,” it feels like the kind of improvisational brutality in which kids really do specialize.\u003c/p>\n\u003cp>And that’s not his only problem. Charlie Brown says things like, “I know nobody likes me. Why do we have to have a holiday season to emphasize it?” \u003cem>I know nobody likes me\u003c/em>. That’s unvarnished, and while the special will end with everyone telling him “Merry Christmas,” you will not really see much evidence in the next 20-plus minutes that they do, in fact, like him. He’s sad, for real, and he lives in that feeling, and he uses the word “depressed” to describe it. As with most things in Charlie Brown’s life, it is a load that will be temporarily lifted, but never resolved.\u003c/p>\n\u003cfigure id=\"attachment_11123075\" class=\"wp-caption alignright\" style=\"max-width: 883px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\" alt=\"Kristen Bell hosts a retrospective called It's Your 50th Christmas, Charlie Brown, Monday night on ABC.\" width=\"883\" height=\"662\" class=\"size-full wp-image-11123075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg 883w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-800x600.jpg 800w\" sizes=\"(max-width: 883px) 100vw, 883px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kristen Bell hosts a retrospective called It’s Your 50th Christmas, Charlie Brown, Monday night on ABC. \u003ccite>(Photo: Nicole Wilder/ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s so desperate for help, in fact, that he continues to pay Lucy five cents to think poorly of him in more sophisticated language. Her solution to his need for “involvement” is to make him the director of the Christmas play, a doomed scenario from the start, no?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But of course, it’s also unlikely that a special would end with a character reading Scripture with the earnestness of Linus. (It might be unlikely for a character to exist with the earnestness of Linus in the first place.) But as common as it is for viewers to remark on the religious content of the special, that content doesn’t exist in a vacuum. It doesn’t exist to say, “It’s a religious holiday, and therefore you should spurn its secular aspects.” Quite the contrary: Linus’ reading inspires Charlie Brown to redouble his efforts to decorate his sad little tree. And it inspires his friends to follow him and, when he becomes overwhelmed with sadness about said sad little tree, to help him.\u003c/p>\n\u003cp>So as much as \u003cem>A Charlie Brown Christmas \u003c/em>is about the significance of the religious tradition as what Christmas is “really about,” it sees that tradition at least in part as a gateway to, and an inspiration for, other actions. It doesn’t only suggest Christmas is \u003cem>really \u003c/em>about the Bible story; it suggests Christmas is also really about friends, dogs, cooperating, the beauty of humble things, singing out loud, and hope. It’s just not about writing your Christmas list and asking for, as Sally does, “10s and 20s.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only thing you really can’t recapture from 1965 is scarcity. It was once the case that Christmas specials could be seen only at Christmas. Now, you and your family can watch Charlie Brown anytime you want, anywhere you want. It’s convenience at the expense of a certain kind of preciousness, to be sure. But if you still want to be the kind of person who watches things when they happen to be on, Monday night is the night for that sad little tree. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Christmas%27+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday night, ABC will air a special at 7 p.m. called \u003cem>It’s Your 50th Christmas, Charlie Brown,\u003c/em> to mark the half-century since \u003cem>A Charlie Brown Christmas \u003c/em>first aired in 1965. Then at 8, it will air the special itself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There’s so much about \u003cem>A Charlie Brown Christmas \u003c/em>that you’d never see on network television holiday specials now, I suspect. A special that, if not \u003cem>for\u003c/em> children, is certainly intended to be accessible \u003cem>by \u003c/em>children would never use that “guzzling Irish coffee in a bar on a snow-blanketed night in New York when you just got stood up but you feel weirdly OK about it” Vince Guaraldi music. Mass-marketed entertainment doesn’t tend to trust kids’ capacity to appreciate either stripped-down scores or the natural blues of winter that much. The kids’ chorus singing would be replaced by a Demi Lovato version of “The Little Drummer Boy” or something like that. Pardon the cynicism, but … wouldn’t it?\u003c/p>\n\u003cp>Watching the special now, its bleakness is palpable and bracing. It opens with Charlie Brown defining his problem in part as, in these words, “I’m not happy. I don’t feel the way I’m supposed to feel.” Straight-up dread, straight-up emotional emptiness. When Linus — who is, in many ways, the \u003cem>nice \u003c/em>one — tells him, “Of all the Charlie Browns in the world, you’re the Charlie Browniest,” it feels like the kind of improvisational brutality in which kids really do specialize.\u003c/p>\n\u003cp>And that’s not his only problem. Charlie Brown says things like, “I know nobody likes me. Why do we have to have a holiday season to emphasize it?” \u003cem>I know nobody likes me\u003c/em>. That’s unvarnished, and while the special will end with everyone telling him “Merry Christmas,” you will not really see much evidence in the next 20-plus minutes that they do, in fact, like him. He’s sad, for real, and he lives in that feeling, and he uses the word “depressed” to describe it. As with most things in Charlie Brown’s life, it is a load that will be temporarily lifted, but never resolved.\u003c/p>\n\u003cfigure id=\"attachment_11123075\" class=\"wp-caption alignright\" style=\"max-width: 883px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\" alt=\"Kristen Bell hosts a retrospective called It's Your 50th Christmas, Charlie Brown, Monday night on ABC.\" width=\"883\" height=\"662\" class=\"size-full wp-image-11123075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg 883w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-800x600.jpg 800w\" sizes=\"(max-width: 883px) 100vw, 883px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kristen Bell hosts a retrospective called It’s Your 50th Christmas, Charlie Brown, Monday night on ABC. \u003ccite>(Photo: Nicole Wilder/ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s so desperate for help, in fact, that he continues to pay Lucy five cents to think poorly of him in more sophisticated language. Her solution to his need for “involvement” is to make him the director of the Christmas play, a doomed scenario from the start, no?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But of course, it’s also unlikely that a special would end with a character reading Scripture with the earnestness of Linus. (It might be unlikely for a character to exist with the earnestness of Linus in the first place.) But as common as it is for viewers to remark on the religious content of the special, that content doesn’t exist in a vacuum. It doesn’t exist to say, “It’s a religious holiday, and therefore you should spurn its secular aspects.” Quite the contrary: Linus’ reading inspires Charlie Brown to redouble his efforts to decorate his sad little tree. And it inspires his friends to follow him and, when he becomes overwhelmed with sadness about said sad little tree, to help him.\u003c/p>\n\u003cp>So as much as \u003cem>A Charlie Brown Christmas \u003c/em>is about the significance of the religious tradition as what Christmas is “really about,” it sees that tradition at least in part as a gateway to, and an inspiration for, other actions. It doesn’t only suggest Christmas is \u003cem>really \u003c/em>about the Bible story; it suggests Christmas is also really about friends, dogs, cooperating, the beauty of humble things, singing out loud, and hope. It’s just not about writing your Christmas list and asking for, as Sally does, “10s and 20s.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only thing you really can’t recapture from 1965 is scarcity. It was once the case that Christmas specials could be seen only at Christmas. Now, you and your family can watch Charlie Brown anytime you want, anywhere you want. It’s convenience at the expense of a certain kind of preciousness, to be sure. But if you still want to be the kind of person who watches things when they happen to be on, Monday night is the night for that sad little tree. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Christmas%27+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It may not seem that way if you’re an artist struggling to pay the rent, but San Francisco is one of the world’s leaders in supporting the arts.\u003c/p>\n\u003cp>Last weekend the San Francisco Arts Commission’s Cultural Affairs Director, Tom DeCaigny, joined delegates from 31 cities around the globe for the \u003ca href=\"http://www.worldcitiescultureforum.com/\" target=\"_blank\" rel=\"noopener\">World Cities Culture Forum \u003c/a>in London to discuss how civic leaders can keep economic growth from coming at the expense of a city’s cultural soul.\u003c/p>\n\u003cp>The forum was founded in London in conjunction with the 2012 Olympic Games, with the idea that as people gather in peace to celebrate sports, they should also acknowledge the way arts and culture do that same thing every day.\u003c/p>\n\u003cfigure id=\"attachment_11109244\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109244\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-800x503.jpg\" alt=\"San Francisco Cultural Affairs Director Tom DeCaigny\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-1180x742.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-1920x1207.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Cultural Affairs Director Tom DeCaigny \u003ccite>(Photo: Cole Antestberger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KQED talked to DeCaigny about what he learned at the forum and what might make San Francisco and other cities around the Bay Area even more vibrant and harmonious.\u003c/p>\n\u003cp>\u003cstrong>The forum was trying to answer this big question: does a city’s growth come at the expense of its cultural soul? We’ve certainly seen this played out recently in San Francisco where the tech boom is pricing artists and arts groups out of their homes, offices and studios. So what solutions did you discuss at the forum?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The one thing we know is that urbanization is on the rise around the globe. So more and more people are moving into cities because they want the arts and culture the city has to offer, but land becomes more valuable. So it’s about how we create pathways of ownership for artists and arts organizations so they’re not forced to deal with the broader markets that tend to be more aggressive than artists can afford.\u003c/p>\n\u003cp>\u003cstrong>And how do you do that in San Francisco?\u003c/strong>\u003c/p>\n\u003cp>One of our great models is the \u003ca href=\"http://ww2.kqed.org/arts/2015/06/17/san-francisco-arts-groups-on-path-to-becoming-property-owners/\" target=\"_blank\" rel=\"noopener\">Community Arts Stabilization Trust\u003c/a>, (CAST) which has recently benefited from a seed gift from the \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a> of $5 million.\u003c/p>\n\u003cp>They’re also the organization working in partnership with the \u003ca href=\"http://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund\u003c/a> to stabilize those non-profits funded through $2 million through our Board of Supervisors and Mayor’s office.\u003c/p>\n\u003cp>\u003cstrong>Of course that doesn’t help the many individual artists who have lost their studios to a tech company. Any ideas from the forum that might help them?\u003c/strong>\u003c/p>\n\u003cp>One thing we’ve looked at locally, something other cities have had success with, is the zoning of space that is most conducive to artists. In the US and San Francisco that is referred to as PDR, or Production, Distribution and Repair space. So if you’ve wondered why artists often find studios in spaces that are near auto repair or warehouses, it’s because that’s usually zoned PDR. So one of the things we’re looking at here at the Arts Commission is how do we work with the Planning Department to ensure a good proportion of PDR, because that creates a market that artists can access. So the cost per square foot of that space tends to be lower. Other cities like London and Shanghai have found great success with equivalent zoning that protects space for artist use.\u003c/p>\n\u003cp>\u003cstrong>The Forum published a financial report this year comparing 24 of the cities in attendance. The reports says that San Francisco invests more than $100 per capita in arts and culture. A lot of that money comes from the hotel and restaurant tax. Meanwhile, Los Angeles invests just $11 per capita. What do you make of that disparity?\u003c/strong>\u003c/p>\n\u003cp>Well the electorate and elected officials in San Francisco have a real sense of the value of arts and culture, so they’ve made a decision that they want a public investment. And San Francisco leads the country in that regard.\u003c/p>\n\u003cp>\u003cstrong>And yet a lot of artists from San Francisco have sought refuge in LA because they can do their work and still find affordable rents.\u003c/strong>\u003c/p>\n\u003cp>That’s part of the reason we’ve seen an increase in our public investment in the arts in the past couple of years. So we have a non-profit displacement mitigation fund, which is helping many arts and culture organizations stay in the city, and most recently has helped a number of organizations renegotiate their leases.\u003c/p>\n\u003cp>\u003cstrong>I understand that London is facing a \u003ca href=\"http://www.theguardian.com/uk-news/2015/oct/20/save-londons-live-music-venues-city-wide-campaign-launched\" target=\"_blank\" rel=\"noopener\">music venue crisis\u003c/a>. The city has lost about a third of its clubs and music halls over the past five years. We’ve had similar threats in San Francisco, where people move into a neighborhood and then complain about the noise. What did you learn at the culture forum that might be applicable here?\u003c/strong>\u003c/p>\n\u003cp>Well London is looking at a number of solutions. And now they’ve put deed restrictions on units of new residential housing near historic music venues. It actually prevents the owner of that new residence from ever submitting a sound complaint against that music venue. I know we’ve had some legislation in San Francisco that is studying the sound impacts on residential development. But I think London is really leading the way.\u003c/p>\n\u003cp>\u003cstrong>San Francisco was the only Bay Area city to attend this global forum. Did you come away with any suggestions for cities like Oakland or San Jose which may be dealing with these same problems?\u003c/strong>\u003c/p>\n\u003cp>We really did represent the Bay Area. And I think there’s a call for greater regional planning. I’ve been working closely with my counterpart in San Jose, \u003ca href=\"http://www.sanjoseculture.org/index.aspx?NID=933\" target=\"_blank\" rel=\"noopener\">Kerry Adams Hapner\u003c/a>, the President of the \u003ca href=\"http://www.americansforthearts.org/by-program/networks-and-councils/united-states-urban-arts-federation\" target=\"_blank\" rel=\"noopener\">US Urban Arts Federation\u003c/a>, to insure how we can regionally make sure the the Bay Area remains an affordable place for artists.\u003c/p>\n\u003cp>\u003cstrong>Underlying the London forum was this idea of “creative placemaking,” where the arts are a key part of city policy. So what did you bring back from the forum to help maintain that ideal?\u003c/strong>\u003c/p>\n\u003cp>As important as creative placemaking can be to improving the quality of life of a city, I think we also have to be concerned with \u003cem>creative placekeeping\u003c/em>. It’s a term coined by \u003ca href=\"http://www.tucsonpimaartscouncil.org/\" target=\"_blank\" rel=\"noopener\">Roberto Bedoya of Tuscon-Pima Arts Council\u003c/a>, and it’s really about how do we insure as municipal governments that artists and arts organizations continue to thrive where they are. These are the people who have made our neighborhoods unique — that people want to come and be a part of. We want to welcome new people to the party, but we also want to make sure that they’re respectful of the people who made this city such a great place to live in and play in in the first place.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It may not seem that way if you’re an artist struggling to pay the rent, but San Francisco is one of the world’s leaders in supporting the arts.\u003c/p>\n\u003cp>Last weekend the San Francisco Arts Commission’s Cultural Affairs Director, Tom DeCaigny, joined delegates from 31 cities around the globe for the \u003ca href=\"http://www.worldcitiescultureforum.com/\" target=\"_blank\" rel=\"noopener\">World Cities Culture Forum \u003c/a>in London to discuss how civic leaders can keep economic growth from coming at the expense of a city’s cultural soul.\u003c/p>\n\u003cp>The forum was founded in London in conjunction with the 2012 Olympic Games, with the idea that as people gather in peace to celebrate sports, they should also acknowledge the way arts and culture do that same thing every day.\u003c/p>\n\u003cfigure id=\"attachment_11109244\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109244\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-800x503.jpg\" alt=\"San Francisco Cultural Affairs Director Tom DeCaigny\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-1180x742.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-1920x1207.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Cultural Affairs Director Tom DeCaigny \u003ccite>(Photo: Cole Antestberger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KQED talked to DeCaigny about what he learned at the forum and what might make San Francisco and other cities around the Bay Area even more vibrant and harmonious.\u003c/p>\n\u003cp>\u003cstrong>The forum was trying to answer this big question: does a city’s growth come at the expense of its cultural soul? We’ve certainly seen this played out recently in San Francisco where the tech boom is pricing artists and arts groups out of their homes, offices and studios. So what solutions did you discuss at the forum?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The one thing we know is that urbanization is on the rise around the globe. So more and more people are moving into cities because they want the arts and culture the city has to offer, but land becomes more valuable. So it’s about how we create pathways of ownership for artists and arts organizations so they’re not forced to deal with the broader markets that tend to be more aggressive than artists can afford.\u003c/p>\n\u003cp>\u003cstrong>And how do you do that in San Francisco?\u003c/strong>\u003c/p>\n\u003cp>One of our great models is the \u003ca href=\"http://ww2.kqed.org/arts/2015/06/17/san-francisco-arts-groups-on-path-to-becoming-property-owners/\" target=\"_blank\" rel=\"noopener\">Community Arts Stabilization Trust\u003c/a>, (CAST) which has recently benefited from a seed gift from the \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a> of $5 million.\u003c/p>\n\u003cp>They’re also the organization working in partnership with the \u003ca href=\"http://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund\u003c/a> to stabilize those non-profits funded through $2 million through our Board of Supervisors and Mayor’s office.\u003c/p>\n\u003cp>\u003cstrong>Of course that doesn’t help the many individual artists who have lost their studios to a tech company. Any ideas from the forum that might help them?\u003c/strong>\u003c/p>\n\u003cp>One thing we’ve looked at locally, something other cities have had success with, is the zoning of space that is most conducive to artists. In the US and San Francisco that is referred to as PDR, or Production, Distribution and Repair space. So if you’ve wondered why artists often find studios in spaces that are near auto repair or warehouses, it’s because that’s usually zoned PDR. So one of the things we’re looking at here at the Arts Commission is how do we work with the Planning Department to ensure a good proportion of PDR, because that creates a market that artists can access. So the cost per square foot of that space tends to be lower. Other cities like London and Shanghai have found great success with equivalent zoning that protects space for artist use.\u003c/p>\n\u003cp>\u003cstrong>The Forum published a financial report this year comparing 24 of the cities in attendance. The reports says that San Francisco invests more than $100 per capita in arts and culture. A lot of that money comes from the hotel and restaurant tax. Meanwhile, Los Angeles invests just $11 per capita. What do you make of that disparity?\u003c/strong>\u003c/p>\n\u003cp>Well the electorate and elected officials in San Francisco have a real sense of the value of arts and culture, so they’ve made a decision that they want a public investment. And San Francisco leads the country in that regard.\u003c/p>\n\u003cp>\u003cstrong>And yet a lot of artists from San Francisco have sought refuge in LA because they can do their work and still find affordable rents.\u003c/strong>\u003c/p>\n\u003cp>That’s part of the reason we’ve seen an increase in our public investment in the arts in the past couple of years. So we have a non-profit displacement mitigation fund, which is helping many arts and culture organizations stay in the city, and most recently has helped a number of organizations renegotiate their leases.\u003c/p>\n\u003cp>\u003cstrong>I understand that London is facing a \u003ca href=\"http://www.theguardian.com/uk-news/2015/oct/20/save-londons-live-music-venues-city-wide-campaign-launched\" target=\"_blank\" rel=\"noopener\">music venue crisis\u003c/a>. The city has lost about a third of its clubs and music halls over the past five years. We’ve had similar threats in San Francisco, where people move into a neighborhood and then complain about the noise. What did you learn at the culture forum that might be applicable here?\u003c/strong>\u003c/p>\n\u003cp>Well London is looking at a number of solutions. And now they’ve put deed restrictions on units of new residential housing near historic music venues. It actually prevents the owner of that new residence from ever submitting a sound complaint against that music venue. I know we’ve had some legislation in San Francisco that is studying the sound impacts on residential development. But I think London is really leading the way.\u003c/p>\n\u003cp>\u003cstrong>San Francisco was the only Bay Area city to attend this global forum. Did you come away with any suggestions for cities like Oakland or San Jose which may be dealing with these same problems?\u003c/strong>\u003c/p>\n\u003cp>We really did represent the Bay Area. And I think there’s a call for greater regional planning. I’ve been working closely with my counterpart in San Jose, \u003ca href=\"http://www.sanjoseculture.org/index.aspx?NID=933\" target=\"_blank\" rel=\"noopener\">Kerry Adams Hapner\u003c/a>, the President of the \u003ca href=\"http://www.americansforthearts.org/by-program/networks-and-councils/united-states-urban-arts-federation\" target=\"_blank\" rel=\"noopener\">US Urban Arts Federation\u003c/a>, to insure how we can regionally make sure the the Bay Area remains an affordable place for artists.\u003c/p>\n\u003cp>\u003cstrong>Underlying the London forum was this idea of “creative placemaking,” where the arts are a key part of city policy. So what did you bring back from the forum to help maintain that ideal?\u003c/strong>\u003c/p>\n\u003cp>As important as creative placemaking can be to improving the quality of life of a city, I think we also have to be concerned with \u003cem>creative placekeeping\u003c/em>. It’s a term coined by \u003ca href=\"http://www.tucsonpimaartscouncil.org/\" target=\"_blank\" rel=\"noopener\">Roberto Bedoya of Tuscon-Pima Arts Council\u003c/a>, and it’s really about how do we insure as municipal governments that artists and arts organizations continue to thrive where they are. These are the people who have made our neighborhoods unique — that people want to come and be a part of. We want to welcome new people to the party, but we also want to make sure that they’re respectful of the people who made this city such a great place to live in and play in in the first place.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"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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"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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"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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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"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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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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