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"title": "Cy and David's Picks: Milk Carton Kids, a Jazz Memorial, and More",
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"content": "\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/234729920″ 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\u003cfigure id=\"attachment_11109247\" class=\"wp-caption alignright\" style=\"max-width: 661px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\" alt=\"Milk Carton Kids\" width=\"661\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg 661w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607-400x214.jpg 400w\" sizes=\"(max-width: 661px) 100vw, 661px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Milk Carton Kids\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 1 & 2: \u003c/strong>\u003ca href=\"http://www.themilkcartonkids.com/\" target=\"_blank\" rel=\"noopener\">The Milk Carton Kids\u003c/a> are Joey Ryan and Kenneth Pattengale, neo-folkies from SoCal who sing gorgeously sad songs about lost dreams in close harmony. They sound like early Simon and Garfunkel, and banter like the Smothers Brothers. It’s a winning combination. Details here on their shows at \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=11747\" target=\"_blank\" rel=\"noopener\">the Palace of Fine Arts Theater\u003c/a> in San Francisco, and then the \u003ca href=\"http://www.uptowntheatrenapa.com/event/milk-carton-kids/\" target=\"_blank\" rel=\"noopener\">Uptown Theater\u003c/a> in Napa.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11109139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg\" alt=\"Wesla Whitfield and Orrin Keepnews\" width=\"640\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield and Orrin Keepnews \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 29:\u003c/strong> Orrin Keepnews was among the elite of jazz record producers, and he worked for many years reissuing dozens of terrific albums for Fantasy Records in Berkeley. He died last March and two of his favorite recording stars — Mike Greensill and his wife, singer Wesla Whitfield — are organizing a memorial concert for him at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> in Oakland, featuring Berkeley’s Dave Ellis and others, with proceeds going to the Orrin Keepnews Scholarship Fund at the California Jazz Conservatory. Greensill says, “He had impeccable taste, and he knew when something was right or not.” Details\u003ca href=\"http://www.yoshis.com/event/880177-orrin-keepnews-memorial-oakland/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Dec. 1 (through Dec. 27):\u003c/strong> Yes, it’s a musical about a serial killer, but \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=69FD65D4-00C0-49A1-81C3-75C94805A446\" target=\"_blank\" rel=\"noopener\">A Gentleman’s Guide to Love and Murder\u003c/a>\u003c/em> is more Gilbert and Sullivan than \u003cem>Sweeney Todd.\u003c/em> This 2014 Tony Award winner is a romp about a young man bumping off rivals for an Earlship (or is that Earldom) and trying to decide who holds the key to his heart: his mistress or his fiancée? Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=gentlemansguidetoloveandmurder&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cfigure id=\"attachment_11109251\" class=\"wp-caption alignright\" style=\"max-width: 964px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109251\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\" alt=\"Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from 'Handle with Care.'\" width=\"964\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg 964w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-960x640.jpg 960w\" sizes=\"(max-width: 964px) 100vw, 964px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from ‘Handle with Care.’ \u003ccite>(Photo: Susan Mah Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 20:\u003c/strong> \u003cem>Handle with Care is \u003c/em>a rare show on Bay Area stages, bilingual in English and Hebrew. It’s a comedy about what happens when a delivery service loses the body of a recently deceased Israeli grandmother, resulting in a cute meet-up between the Israeli granddaughter and a Jewish-American guy who happens to love Easter. Details\u003ca href=\"https://cltc.org/explore-our-2015-16-season/handle-with-care/\" target=\"_blank\" rel=\"noopener\"> here:\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 1:\u003c/strong> The Dandy Warhols have been regular visitors to the Bay Area since the band formed in Portland in 1994. Expect a good mix of older and younger fans, and older and newer songs including “Bohemian Like You.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D7TPxA5sp4I\u003c/p>\n\u003cp>The Dandy Warhols still deliver great psych rock and roll. Details \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12339\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 27 & 28:\u003c/strong> Cy’s shoutout is for our favorite sketch comedy troupe, \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">Killing My Lobste\u003c/a>r. They’re doing a show called \u003cem>Sketchprov! \u003c/em>at \u003ca href=\"http://www.pianofight.com/\" target=\"_blank\" rel=\"noopener\">Pianofight\u003c/a> in San Francisco. Laugh the calories off with jokes on relatives and overeating. Details \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 9:\u003c/strong> And David’s shoutout is for Stage Kiss, \u003ca href=\"http://www.sarahruhlplaywright.com/\" target=\"_blank\" rel=\"noopener\">Sarah Ruhl\u003c/a>‘s wonderful play about romance on and off the stage. The terrific Gabe Marin and Carrie Paff are the leads in this production at San Francisco Playhouse. Details \u003ca href=\"http://sfplayhouse.org/sfph/2015-2016-season/stage-kiss/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\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/234729920″&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/234729920″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_11109247\" class=\"wp-caption alignright\" style=\"max-width: 661px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\" alt=\"Milk Carton Kids\" width=\"661\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg 661w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607-400x214.jpg 400w\" sizes=\"(max-width: 661px) 100vw, 661px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Milk Carton Kids\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 1 & 2: \u003c/strong>\u003ca href=\"http://www.themilkcartonkids.com/\" target=\"_blank\" rel=\"noopener\">The Milk Carton Kids\u003c/a> are Joey Ryan and Kenneth Pattengale, neo-folkies from SoCal who sing gorgeously sad songs about lost dreams in close harmony. They sound like early Simon and Garfunkel, and banter like the Smothers Brothers. It’s a winning combination. Details here on their shows at \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=11747\" target=\"_blank\" rel=\"noopener\">the Palace of Fine Arts Theater\u003c/a> in San Francisco, and then the \u003ca href=\"http://www.uptowntheatrenapa.com/event/milk-carton-kids/\" target=\"_blank\" rel=\"noopener\">Uptown Theater\u003c/a> in Napa.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11109139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg\" alt=\"Wesla Whitfield and Orrin Keepnews\" width=\"640\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield and Orrin Keepnews \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 29:\u003c/strong> Orrin Keepnews was among the elite of jazz record producers, and he worked for many years reissuing dozens of terrific albums for Fantasy Records in Berkeley. He died last March and two of his favorite recording stars — Mike Greensill and his wife, singer Wesla Whitfield — are organizing a memorial concert for him at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> in Oakland, featuring Berkeley’s Dave Ellis and others, with proceeds going to the Orrin Keepnews Scholarship Fund at the California Jazz Conservatory. Greensill says, “He had impeccable taste, and he knew when something was right or not.” Details\u003ca href=\"http://www.yoshis.com/event/880177-orrin-keepnews-memorial-oakland/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Dec. 1 (through Dec. 27):\u003c/strong> Yes, it’s a musical about a serial killer, but \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=69FD65D4-00C0-49A1-81C3-75C94805A446\" target=\"_blank\" rel=\"noopener\">A Gentleman’s Guide to Love and Murder\u003c/a>\u003c/em> is more Gilbert and Sullivan than \u003cem>Sweeney Todd.\u003c/em> This 2014 Tony Award winner is a romp about a young man bumping off rivals for an Earlship (or is that Earldom) and trying to decide who holds the key to his heart: his mistress or his fiancée? Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=gentlemansguidetoloveandmurder&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cfigure id=\"attachment_11109251\" class=\"wp-caption alignright\" style=\"max-width: 964px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109251\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\" alt=\"Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from 'Handle with Care.'\" width=\"964\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg 964w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-960x640.jpg 960w\" sizes=\"(max-width: 964px) 100vw, 964px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from ‘Handle with Care.’ \u003ccite>(Photo: Susan Mah Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 20:\u003c/strong> \u003cem>Handle with Care is \u003c/em>a rare show on Bay Area stages, bilingual in English and Hebrew. It’s a comedy about what happens when a delivery service loses the body of a recently deceased Israeli grandmother, resulting in a cute meet-up between the Israeli granddaughter and a Jewish-American guy who happens to love Easter. Details\u003ca href=\"https://cltc.org/explore-our-2015-16-season/handle-with-care/\" target=\"_blank\" rel=\"noopener\"> here:\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 1:\u003c/strong> The Dandy Warhols have been regular visitors to the Bay Area since the band formed in Portland in 1994. Expect a good mix of older and younger fans, and older and newer songs including “Bohemian Like You.”\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/D7TPxA5sp4I'\n title='//www.youtube.com/embed/D7TPxA5sp4I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Dandy Warhols still deliver great psych rock and roll. Details \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12339\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 27 & 28:\u003c/strong> Cy’s shoutout is for our favorite sketch comedy troupe, \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">Killing My Lobste\u003c/a>r. They’re doing a show called \u003cem>Sketchprov! \u003c/em>at \u003ca href=\"http://www.pianofight.com/\" target=\"_blank\" rel=\"noopener\">Pianofight\u003c/a> in San Francisco. Laugh the calories off with jokes on relatives and overeating. Details \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 9:\u003c/strong> And David’s shoutout is for Stage Kiss, \u003ca href=\"http://www.sarahruhlplaywright.com/\" target=\"_blank\" rel=\"noopener\">Sarah Ruhl\u003c/a>‘s wonderful play about romance on and off the stage. The terrific Gabe Marin and Carrie Paff are the leads in this production at San Francisco Playhouse. Details \u003ca href=\"http://sfplayhouse.org/sfph/2015-2016-season/stage-kiss/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "three-plans-what-the-future-holds-for-the-palace-of-fine-arts",
"title": "Three Plans: What the Future Holds for the Palace of Fine Arts",
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"content": "\u003cp>As the Palace of Fine Arts celebrates its centennial, the iconic space by San Francisco’s waterfront is to enter a new chapter. Three companies want to take over and renovate the palace, turning it from a gorgeous theater encased in an awe-inspiring park into a commercial destination that not only attracts visitors to the building; it keeps them there for as long as possible.\u003c/p>\n\u003cfigure id=\"attachment_11104330\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_%E2%80%94_Official_Views_Of_The_Worlds_Columbian_Exposition_%E2%80%94_61.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11104330\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_%E2%80%94_Official_Views_Of_The_Worlds_Columbian_Exposition_%E2%80%94_61-400x310.jpg\" alt=\"Interior of Palace of Fine Arts\" width=\"400\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-773x600.jpg 773w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-1180x916.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-1920x1490.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-960x745.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Interior of Palace of Fine Arts in 1915. \u003ccite>(C. D. Arnold and H. D. Higinbotham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The palace, which sits on the San Francisco Bay by the Golden Gate Bridge, has undergone many transformations since it was built as part of the \u003ca href=\"http://ww2.kqed.org/arts/series/1915-worlds-fair-celebration/\" target=\"_blank\" rel=\"noopener\">1915 Panama-Pacific Exposition\u003c/a>. Over the years, the building has housed everything from tennis courts to a telephone book distribution center. By the 1960s, the edifice had fallen into ruin, and was eventually rebuilt through the efforts of local residents and became the home of the Exploratorium, a science museum founded by Frank Oppenheimer in 1969.\u003c/p>\n\u003cp>After the Exploratorium moved out of the palace back in 2013, the San Francisco Recreation and Parks Commission (SF Rec and Parks), the governmental body that runs the palace, has been needing a new tenant. The commission requested proposals last year and by that November, an independent panel narrowed the field from seven to three finalists. The panel, made up of artists and community leaders, made their decisions based on factors such as public access, financials, and compatibility with the neighborhood.\u003c/p>\n\u003cp>The three final plans all incorporate commercial offerings like hotels and restaurants, but all proposals also include a performing arts space, as mandated by the commission.\u003c/p>\n\u003cfigure id=\"attachment_11107420\" class=\"wp-caption alignright\" style=\"max-width: 799px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107420\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD-799x600.jpg\" alt=\"Archival photo of the Palace of Fine Arts\" width=\"799\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD-799x600.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD.jpg 800w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Archival photo of the Palace of Fine Arts \u003ccite>(Courtesy: SFMAP Consortium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after the commission announced the three final proposals, \u003ca href=\"http://ww2.kqed.org/arts/2015/11/10/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts/\" target=\"_blank\" rel=\"noopener\">a local resident posted an online petition\u003c/a> calling on SF Rec and Parks to use the building exclusively as a cultural and educational center. The petition had garnered more than 20,000 signatures as of the end of last week, and many members of the public showed up at a meeting last Thursday to voice their concerns about the plans. The SF Rec and Parks commission listened to the comments before unanimously voting to continue its support of the three front-running proposals for the 150,000 square foot site.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We are pleased so many people are interested in the future of the Palace of Fine Arts and hope they stay engaged in the process,” says Sarah Madland, director of policy and public affairs for SF Rec and Parks, noting that the petition comes less than halfway through the Palace of Fine Arts’ six-year-long redevelopment period.\u003c/p>\n\u003cp>Whatever plan is chosen will be a boon for San Francisco, as it means increased revenues for the city. But the selected developer faces considerable challenges, as the cavernous building requires around $20 million in improvements to its seismic infrastructure and air conditioning system.\u003c/p>\n\u003cp>To better inform those following this process, we’ve broken down the each of the three proposals, excluding financial details — KQED inquired into the cost of each project, but Madland says the budget information is currently unavailable at this stage in the process.\u003c/p>\n\u003ch2>1. The Maybeck Center at the Palace of Fine Arts\u003c/h2>\n\u003cfigure id=\"attachment_11107308\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/PFA_interior.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107308\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/PFA_interior-598x600.jpg\" alt=\"Artist rendering of the redone Palace of Fine Arts, per the Maybeck Center plan\" width=\"598\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior.jpg 898w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the redone Palace of Fine Arts, per the Maybeck Center plan \u003ccite>(Courtesy: TMG partners)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The plan\u003c/strong>\u003cbr>\nNamed for the original architect of the building, Bernard Maybeck, the proposal includes an unspecified amount of lodging, a wedding chapel, eateries, a gym/spa, a live performance space, and historical and scientific exhibits. \u003ci>(\u003ca href=\"http://sfrecpark.org/wp-content/uploads/TMG-public_publish.pdf\" target=\"_blank\" rel=\"noopener\">Click here for PDF of the plan\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>The people behind it\u003cbr>\n\u003c/strong>Local developers TMG Partners and Flynn Properties are behind this proposal. The firms have worked on upscale projects like Landmark at One Market in San Francisco and the Emeryville Public Market. TMG Partners specializes in restoring historic buildings and putting them to new uses, as the firm did with \u003ca href=\"https://goo.gl/CrBKnj\" target=\"_blank\" rel=\"noopener\">1000 Van Ness\u003c/a>: the long-vacant Cadillac Building was acquired by TMG in 1997 and turned into a complex with a multiplex cinema, health club and luxury condominiums.\u003c/p>\n\u003cp>\u003cstrong>The skinny\u003c/strong>\u003cbr>\nThe plan proposes adding skylights and windows to the structure, creating an internal courtyard, and fixing up at least one of the historic fireplaces. The guest rooms will be built on and beneath a new mezzanine in a way that the full ceiling height remains in the central part of the building. The commission’s panel considered this project to be the most financially viable of the lot, which isn’t surprising considering the proposal’s high-end commercial aspirations. In addition, this project counts the venue’s previous long-term tenant, The Exploratorium, as a partner, which the company touts as a way to create a sense of continuity with the past.\u003c/p>\n\u003ch2>2. San Francisco Arts, Crafts, Community and Hospitality\u003c/h2>\n\u003cfigure id=\"attachment_11107312\" class=\"wp-caption alignright\" style=\"max-width: 755px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping-755x600.jpg\" alt=\"Artist rendering of the shopping area in ECB's proposal for Palace of Fine Arts\" width=\"755\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping-755x600.jpg 755w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping.jpg 800w\" sizes=\"(max-width: 755px) 100vw, 755px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the shopping area in ECB’s proposal for Palace of Fine Arts \u003ccite>(Courtesy: ECB)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The plan\u003c/strong>\u003cbr>\nThe proposal features a 174-room hotel and a grand public concourse with retail shops, cafes, studios, galleries, a cooking school, historical exhibits about the Palace of Fine Arts, a performing arts space and art installations. \u003ci>(\u003ca href=\"http://sfrecpark.org/wp-content/uploads/ECB-PFA-Proposal-PUBLIC.pdf\" target=\"_blank\" rel=\"noopener\">Click here for PDF of the plan\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>The people behind it\u003c/strong>\u003cbr>\nThis proposal is led by developer Equity Community Builders (ECB), which worked on Cavallo Point in Golden Gate National Park and American Conservatory Theater’s new Strand venue on Market Street. ECB also has extensive experience rehabilitating old buildings, like the $12.7-million \u003ca href=\"http://www.thoreau.org/san-francisco/history/index.html\">Thoreau Center for Sustainability\u003c/a> inside the Presidio’s \u003ca href=\"http://www.presidio.gov/explore/Pages/letterman-hospital-history-of-healing.aspx\" target=\"_blank\" rel=\"noopener\">Letterman Hospital\u003c/a>, which dates from 1846 and is part of the historic landmark run by the National Park Service.\u003c/p>\n\u003cp>\u003cstrong>The skinny\u003c/strong>\u003cbr>\nThe San Francisco Arts, Crafts, Community and Hospitality proposal mentions the Ferry Building as a model, so will likely offer visitors a similar style of boutiquey shopping and dining options. The plan emphasizes that a hotel can limit traffic and parking, and intends to direct guests exclusively through Marina Boulevard rather than the rest of the neighborhood. The proposed hotel in the Palace will be on the two mezzanine levels flanking the main concourse as to minimize the impact on the public space. Despite the commercial aspirations, the plan is also creative-minded: the developer has tapped public art maven Leslie Pritchett to head the project’s arts, crafts, and creativity program together with Melissa Alexander (previously of the Black Rock Arts Foundation and currently the Director of Public Programs at the Exploratorium.)\u003c/p>\n\u003ch2>3. San Francisco Museum At The Palace Consortium (SFMAP)\u003c/h2>\n\u003cfigure id=\"attachment_11107419\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SFMAP_Pic.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107419\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-800x476.jpg\" alt=\"Artist rendering of the Palace of Fine Arts\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-400x238.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-1920x1141.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic.jpg 1938w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the Palace of Fine Arts \u003ccite>(Courtesy: SFMAP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The plan\u003c/strong>\u003cbr>\nThe proposal centers on a new museum at the Palace of Fine Arts that delves into the history of San Francisco and the Bay Area, which will include an earthquake simulation theater. It also includes a public event space and a restaurant run by the Absinthe Group, known for the swanky Hayes Valley eateries Absinthe Brasserie and Boxing Room. \u003ci>(\u003ca href=\"http://sfrecpark.org/wp-content/uploads/SFMAP_Publish.pdf\" target=\"_blank\" rel=\"noopener\">Click here for PDF of the plan\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>The people behind it\u003c/strong>\u003cbr>\nBob and Ink Mendelsohn are spearheading this effort. The former is President and CEO of real estate developer Republic Metropolitan, and the latter, his wife, is a writer who used to work for the Smithsonian’s Office of Public Affairs. Their major San Francisco-based project together to date has been the renovation of the Old Mint building in downtown San Francisco, but they also have experience with museums: Bob Mendelsohn helped direct the design and construction of the Holocaust Memorial Museum in Washington D.C..\u003c/p>\n\u003cp>\u003cstrong>The skinny\u003c/strong>\u003cbr>\nThis proposal has the backing of a slew of local service providers such as the police, sheriff and emergency medical departments, public-minded local organizations like the Golden Gate National Parks Conservancy, and even big businesses like Chevron. But while the Mendelsohns have experience with museums, which strengthens their case, the plan is considered less well-organized financially than the previous two. Notably, the \u003ca href=\"http://sanfranciscomuseum.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum at the Mint\u003c/a> never got off the ground after eleven years, despite having a rent-free lease that entire time. (The organization was kicked out of the space last August without ever opening its doors.)\u003c/p>\n\u003cp>The three finalists were invited to submitted more-detailed proposals by May 20, 2016 based on a request for proposals that will be finalized by next month. SF Rec and Parks expects to reach a final decision in the next three years.\u003c/p>\n\u003cp>\u003cb>Learn More:\u003c/b>\u003c/p>\n\u003cp>Listen to a discussion about the future of The Palace of Fine Arts on KQED Forum \u003ca href=\"http://www.kqed.org/a/forum/R201511131030\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Read additional coverage of this story from KQED Arts \u003ca href=\"http://ww2.kqed.org/arts/2015/11/06/sf-parks-commission-looking-at-3-bids-for-palace-of-fine-arts-project/\" target=\"_blank\" rel=\"noopener\">here \u003c/a>and \u003ca href=\"http://ww2.kqed.org/arts/2015/11/10/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"title": "Three Plans: What the Future Holds for the Palace of Fine Arts | KQED",
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"headline": "Three Plans: What the Future Holds for the Palace of Fine Arts",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the Palace of Fine Arts celebrates its centennial, the iconic space by San Francisco’s waterfront is to enter a new chapter. Three companies want to take over and renovate the palace, turning it from a gorgeous theater encased in an awe-inspiring park into a commercial destination that not only attracts visitors to the building; it keeps them there for as long as possible.\u003c/p>\n\u003cfigure id=\"attachment_11104330\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_%E2%80%94_Official_Views_Of_The_Worlds_Columbian_Exposition_%E2%80%94_61.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11104330\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_%E2%80%94_Official_Views_Of_The_Worlds_Columbian_Exposition_%E2%80%94_61-400x310.jpg\" alt=\"Interior of Palace of Fine Arts\" width=\"400\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-773x600.jpg 773w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-1180x916.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-1920x1490.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-960x745.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Interior of Palace of Fine Arts in 1915. \u003ccite>(C. D. Arnold and H. D. Higinbotham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The palace, which sits on the San Francisco Bay by the Golden Gate Bridge, has undergone many transformations since it was built as part of the \u003ca href=\"http://ww2.kqed.org/arts/series/1915-worlds-fair-celebration/\" target=\"_blank\" rel=\"noopener\">1915 Panama-Pacific Exposition\u003c/a>. Over the years, the building has housed everything from tennis courts to a telephone book distribution center. By the 1960s, the edifice had fallen into ruin, and was eventually rebuilt through the efforts of local residents and became the home of the Exploratorium, a science museum founded by Frank Oppenheimer in 1969.\u003c/p>\n\u003cp>After the Exploratorium moved out of the palace back in 2013, the San Francisco Recreation and Parks Commission (SF Rec and Parks), the governmental body that runs the palace, has been needing a new tenant. The commission requested proposals last year and by that November, an independent panel narrowed the field from seven to three finalists. The panel, made up of artists and community leaders, made their decisions based on factors such as public access, financials, and compatibility with the neighborhood.\u003c/p>\n\u003cp>The three final plans all incorporate commercial offerings like hotels and restaurants, but all proposals also include a performing arts space, as mandated by the commission.\u003c/p>\n\u003cfigure id=\"attachment_11107420\" class=\"wp-caption alignright\" style=\"max-width: 799px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107420\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD-799x600.jpg\" alt=\"Archival photo of the Palace of Fine Arts\" width=\"799\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD-799x600.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD.jpg 800w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Archival photo of the Palace of Fine Arts \u003ccite>(Courtesy: SFMAP Consortium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after the commission announced the three final proposals, \u003ca href=\"http://ww2.kqed.org/arts/2015/11/10/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts/\" target=\"_blank\" rel=\"noopener\">a local resident posted an online petition\u003c/a> calling on SF Rec and Parks to use the building exclusively as a cultural and educational center. The petition had garnered more than 20,000 signatures as of the end of last week, and many members of the public showed up at a meeting last Thursday to voice their concerns about the plans. The SF Rec and Parks commission listened to the comments before unanimously voting to continue its support of the three front-running proposals for the 150,000 square foot site.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We are pleased so many people are interested in the future of the Palace of Fine Arts and hope they stay engaged in the process,” says Sarah Madland, director of policy and public affairs for SF Rec and Parks, noting that the petition comes less than halfway through the Palace of Fine Arts’ six-year-long redevelopment period.\u003c/p>\n\u003cp>Whatever plan is chosen will be a boon for San Francisco, as it means increased revenues for the city. But the selected developer faces considerable challenges, as the cavernous building requires around $20 million in improvements to its seismic infrastructure and air conditioning system.\u003c/p>\n\u003cp>To better inform those following this process, we’ve broken down the each of the three proposals, excluding financial details — KQED inquired into the cost of each project, but Madland says the budget information is currently unavailable at this stage in the process.\u003c/p>\n\u003ch2>1. The Maybeck Center at the Palace of Fine Arts\u003c/h2>\n\u003cfigure id=\"attachment_11107308\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/PFA_interior.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107308\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/PFA_interior-598x600.jpg\" alt=\"Artist rendering of the redone Palace of Fine Arts, per the Maybeck Center plan\" width=\"598\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior.jpg 898w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the redone Palace of Fine Arts, per the Maybeck Center plan \u003ccite>(Courtesy: TMG partners)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The plan\u003c/strong>\u003cbr>\nNamed for the original architect of the building, Bernard Maybeck, the proposal includes an unspecified amount of lodging, a wedding chapel, eateries, a gym/spa, a live performance space, and historical and scientific exhibits. \u003ci>(\u003ca href=\"http://sfrecpark.org/wp-content/uploads/TMG-public_publish.pdf\" target=\"_blank\" rel=\"noopener\">Click here for PDF of the plan\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>The people behind it\u003cbr>\n\u003c/strong>Local developers TMG Partners and Flynn Properties are behind this proposal. The firms have worked on upscale projects like Landmark at One Market in San Francisco and the Emeryville Public Market. TMG Partners specializes in restoring historic buildings and putting them to new uses, as the firm did with \u003ca href=\"https://goo.gl/CrBKnj\" target=\"_blank\" rel=\"noopener\">1000 Van Ness\u003c/a>: the long-vacant Cadillac Building was acquired by TMG in 1997 and turned into a complex with a multiplex cinema, health club and luxury condominiums.\u003c/p>\n\u003cp>\u003cstrong>The skinny\u003c/strong>\u003cbr>\nThe plan proposes adding skylights and windows to the structure, creating an internal courtyard, and fixing up at least one of the historic fireplaces. The guest rooms will be built on and beneath a new mezzanine in a way that the full ceiling height remains in the central part of the building. The commission’s panel considered this project to be the most financially viable of the lot, which isn’t surprising considering the proposal’s high-end commercial aspirations. In addition, this project counts the venue’s previous long-term tenant, The Exploratorium, as a partner, which the company touts as a way to create a sense of continuity with the past.\u003c/p>\n\u003ch2>2. San Francisco Arts, Crafts, Community and Hospitality\u003c/h2>\n\u003cfigure id=\"attachment_11107312\" class=\"wp-caption alignright\" style=\"max-width: 755px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping-755x600.jpg\" alt=\"Artist rendering of the shopping area in ECB's proposal for Palace of Fine Arts\" width=\"755\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping-755x600.jpg 755w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping.jpg 800w\" sizes=\"(max-width: 755px) 100vw, 755px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the shopping area in ECB’s proposal for Palace of Fine Arts \u003ccite>(Courtesy: ECB)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The plan\u003c/strong>\u003cbr>\nThe proposal features a 174-room hotel and a grand public concourse with retail shops, cafes, studios, galleries, a cooking school, historical exhibits about the Palace of Fine Arts, a performing arts space and art installations. \u003ci>(\u003ca href=\"http://sfrecpark.org/wp-content/uploads/ECB-PFA-Proposal-PUBLIC.pdf\" target=\"_blank\" rel=\"noopener\">Click here for PDF of the plan\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>The people behind it\u003c/strong>\u003cbr>\nThis proposal is led by developer Equity Community Builders (ECB), which worked on Cavallo Point in Golden Gate National Park and American Conservatory Theater’s new Strand venue on Market Street. ECB also has extensive experience rehabilitating old buildings, like the $12.7-million \u003ca href=\"http://www.thoreau.org/san-francisco/history/index.html\">Thoreau Center for Sustainability\u003c/a> inside the Presidio’s \u003ca href=\"http://www.presidio.gov/explore/Pages/letterman-hospital-history-of-healing.aspx\" target=\"_blank\" rel=\"noopener\">Letterman Hospital\u003c/a>, which dates from 1846 and is part of the historic landmark run by the National Park Service.\u003c/p>\n\u003cp>\u003cstrong>The skinny\u003c/strong>\u003cbr>\nThe San Francisco Arts, Crafts, Community and Hospitality proposal mentions the Ferry Building as a model, so will likely offer visitors a similar style of boutiquey shopping and dining options. The plan emphasizes that a hotel can limit traffic and parking, and intends to direct guests exclusively through Marina Boulevard rather than the rest of the neighborhood. The proposed hotel in the Palace will be on the two mezzanine levels flanking the main concourse as to minimize the impact on the public space. Despite the commercial aspirations, the plan is also creative-minded: the developer has tapped public art maven Leslie Pritchett to head the project’s arts, crafts, and creativity program together with Melissa Alexander (previously of the Black Rock Arts Foundation and currently the Director of Public Programs at the Exploratorium.)\u003c/p>\n\u003ch2>3. San Francisco Museum At The Palace Consortium (SFMAP)\u003c/h2>\n\u003cfigure id=\"attachment_11107419\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SFMAP_Pic.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107419\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-800x476.jpg\" alt=\"Artist rendering of the Palace of Fine Arts\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-400x238.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-1920x1141.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic.jpg 1938w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the Palace of Fine Arts \u003ccite>(Courtesy: SFMAP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The plan\u003c/strong>\u003cbr>\nThe proposal centers on a new museum at the Palace of Fine Arts that delves into the history of San Francisco and the Bay Area, which will include an earthquake simulation theater. It also includes a public event space and a restaurant run by the Absinthe Group, known for the swanky Hayes Valley eateries Absinthe Brasserie and Boxing Room. \u003ci>(\u003ca href=\"http://sfrecpark.org/wp-content/uploads/SFMAP_Publish.pdf\" target=\"_blank\" rel=\"noopener\">Click here for PDF of the plan\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>The people behind it\u003c/strong>\u003cbr>\nBob and Ink Mendelsohn are spearheading this effort. The former is President and CEO of real estate developer Republic Metropolitan, and the latter, his wife, is a writer who used to work for the Smithsonian’s Office of Public Affairs. Their major San Francisco-based project together to date has been the renovation of the Old Mint building in downtown San Francisco, but they also have experience with museums: Bob Mendelsohn helped direct the design and construction of the Holocaust Memorial Museum in Washington D.C..\u003c/p>\n\u003cp>\u003cstrong>The skinny\u003c/strong>\u003cbr>\nThis proposal has the backing of a slew of local service providers such as the police, sheriff and emergency medical departments, public-minded local organizations like the Golden Gate National Parks Conservancy, and even big businesses like Chevron. But while the Mendelsohns have experience with museums, which strengthens their case, the plan is considered less well-organized financially than the previous two. Notably, the \u003ca href=\"http://sanfranciscomuseum.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum at the Mint\u003c/a> never got off the ground after eleven years, despite having a rent-free lease that entire time. (The organization was kicked out of the space last August without ever opening its doors.)\u003c/p>\n\u003cp>The three finalists were invited to submitted more-detailed proposals by May 20, 2016 based on a request for proposals that will be finalized by next month. SF Rec and Parks expects to reach a final decision in the next three years.\u003c/p>\n\u003cp>\u003cb>Learn More:\u003c/b>\u003c/p>\n\u003cp>Listen to a discussion about the future of The Palace of Fine Arts on KQED Forum \u003ca href=\"http://www.kqed.org/a/forum/R201511131030\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Read additional coverage of this story from KQED Arts \u003ca href=\"http://ww2.kqed.org/arts/2015/11/06/sf-parks-commission-looking-at-3-bids-for-palace-of-fine-arts-project/\" target=\"_blank\" rel=\"noopener\">here \u003c/a>and \u003ca href=\"http://ww2.kqed.org/arts/2015/11/10/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "public-park-in-the-sky-seeks-to-protect-atmosphere",
"title": "Public Park in the Sky Seeks to Protect Atmosphere",
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"headTitle": "Public Park in the Sky Seeks to Protect Atmosphere | KQED",
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"content": "\u003cp>Bay Area artist Amy Balkin doesn’t make paintings or sculptures, and she doesn’t have a photographic practice. In fact, you can’t see her artwork \u003cem>\u003ca href=\"http://www.publicsmog.org/\" target=\"_blank\" rel=\"noopener\">PUBLIC SMOG\u003c/a>\u003c/em> at all. But that doesn’t mean it’s not there.\u003c/p>\n\u003cp>\u003ci>PUBLIC SMOG\u003c/i> is a public park in the sky, created by buying carbon offsets. At a time when the air we breathe can be bought and sold on the free market, Balkin’s mind-bending conceptual art project seeks to protect that atmosphere by any means necessary — even if that means taking her case to the highest court in the land: the United Nations.\u003c/p>\n\u003cp>\u003cem>Listen to a discussion about \u003c/em>PUBLIC SMOG\u003cem> between artist Amy Balkin and KQED’s Sarah Hotchkiss:\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/234594089″ 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>The ongoing artwork, currently on view in the form of the project’s paper trail and an accompanying slide show in the Mills College Art Museum’s exhibition \u003ci>\u003ca href=\"http://mcam.mills.edu/exhibitions/current5.php\" target=\"_blank\" rel=\"noopener\">Public Works: Artists’ Interventions 1970s – Now\u003c/a>\u003c/i>, began when Balkin started looking into carbon offsets, a trading scheme by which organizations or individuals can purchase credits to counter the negative environmental effects of their activities. Some carbon offsets fund renewable energy sources; others sponsor forestation projects. Regardless of their motives, all come under fire from some environmental groups as a quick method of alleviating carbon guilt without actually curtailing the sources of pollution.\u003c/p>\n\u003cfigure id=\"attachment_11105428\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105428\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/AmyReading.jpg\" alt=\"Amy Balkin, Stills from 'Reading the IPCC Synthesis Report: Summary for Policymakers,' 2008.\" width=\"1200\" height=\"378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-400x126.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-800x252.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-1180x372.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-960x302.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, Stills from ‘Reading the IPCC Synthesis Report: Summary for Policymakers,’ 2008. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Balkin first entered the emissions trading market and purchased the right to emit nitrogen oxide — a greenhouse gas — in Southern California. Instead of using those rights, she withheld them, making the offsets inaccessible to polluting industries and reserving that portion of the atmosphere as a “clean air park for the public.” Depending on the type of greenhouse gases the artist buys the rights to emit, the park manifests in different parts of the atmosphere. “The park isn’t something you can see,” Balkin says. “But it is something you can use.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But how exactly do you use a park you can’t physically access? Depending on which greenhouse gases Balkin buys the rights to emit, the park manifests in different parts of the atmosphere. Nitrogen oxides, sulfur dioxide and ozone all contribute to smog in the troposphere — or in the language of \u003ci>PUBLIC SMOG\u003c/i>, the “Lower Park.” Carbon dioxide, methane and nitrous oxide are the greenhouse gases of the stratosphere — aka the “Upper Park.”\u003c/p>\n\u003cp>Balkin lists the benefits of opening each park (that is, buying certain offsets) with a playful upswing in her voice. “The Lower Park features particulate-free breathing and lower risk athletic activity,” she says. “And the Upper Park activities include the ongoing enjoyment of glaciers, birds, plants, islands and coastal areas.”\u003c/p>\n\u003cp>Even if you personally can’t get to a glacier during a park’s open hours, know that someone, somewhere — maybe a polar bear — is enjoying its continued existence.\u003c/p>\n\u003cfigure id=\"attachment_11107443\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11107443\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/PublicSmogCube.jpg\" alt=\"Amy Balkin, Image from 'PUBLIC SMOG,' 2004 – ongoing.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, Image from ‘PUBLIC SMOG,’ 2004 – ongoing. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Balkin has long been interested in what happens when land, water and air become commodities — and how people become dispossessed from their own environments. \u003ci>\u003ca href=\"http://sinkingandmelting.tumblr.com/\" target=\"_blank\" rel=\"noopener\">A People’s Archive of Sinking and Melting\u003c/a>\u003c/i>, one of the artist’s ongoing projects, gathers items from places around the world that may disappear due to the effects of climate change. In the collection, the abstract facts and figures of rising sea levels, coastal erosion and desertification become personal stories illustrated by hand-picked mementos. \u003ci>\u003ca href=\"http://www.thisisthepublicdomain.org/\" target=\"_blank\" rel=\"noopener\">This is the Public Domain\u003c/a>\u003c/i>, also ongoing, attempts to create a permanent international commons, free to all forever, on 2.64 acres of land near Mojave, CA. And \u003ci>\u003ca href=\"http://www.invisible5.org/\" target=\"_blank\" rel=\"noopener\">Invisible-5\u003c/a>\u003c/i>, an audio tour of Interstate 5 from 2006, tells the stories of communities along the highly polluted corridor and their struggle for environmental justice.\u003c/p>\n\u003cp>Acknowledging the satirical aspects of \u003ci>PUBLIC SMOG\u003c/i>, Balkin is also quick to point out the serious environmental implications of the project. “It opens up a way for rethinking atmosphere, and a way for helping to remember the atmosphere. We’re breathing it, but we might not be visualizing it, or thinking about what that pollution looks like or its impacts.”\u003c/p>\n\u003cfigure id=\"attachment_11105434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/AmyBillboard.jpg\" alt=\"Amy Balkin, PUBLIC SMOG IS NO SUBSTITUTE FOR DIRECT ACTION, Billboard, Bonamoussadi, Douala, Cameroon, 2009.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, PUBLIC SMOG IS NO SUBSTITUTE FOR DIRECT ACTION, Billboard, Bonamoussadi, Douala, Cameroon, 2009. \u003ccite>(Photo: Benoît Mangin, courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Balkin last opened a clean air park for five months in 2010. Since then, the project has morphed into a different kind of campaign: a political one. The artist is now hard at work trying to get Earth’s atmosphere inscribed on \u003ca href=\"http://whc.unesco.org/en/list/\" target=\"_blank\" rel=\"noopener\">UNESCO’s World Heritage List\u003c/a>.\u003c/p>\n\u003cp>UNESCO deems sites on the list to have “outstanding universal value” and each site must meet at least one of 10 superlative-heavy criteria. Today, the World Heritage List includes 1,031 properties, ranging from historic Cairo to the Bikini Atoll Nuclear Test Site to California’s Redwood parks.\u003c/p>\n\u003cp>Balkin’s bid to get the atmosphere on the list gained momentum with her participation in \u003ci>documenta\u003c/i>, a high-profile international art exhibition in Kassel, Germany that takes place every five years. When Germany said no to backing Balkin’s bid to UNESCO, her installation at \u003ci>dOCUMENTA(13)\u003c/i> spawned a postcard-writing campaign, with 100,000 visitors from around the world sending letters to their governments in support of the atmosphere’s place on the World Heritage List.\u003c/p>\n\u003cfigure id=\"attachment_11105430\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105430\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024.jpg\" alt=\"Amy Balkin, 'Public Smog: Earth's Atmosphere as UNESCO World Heritage Preserve,' Postcard, 2012.\" width=\"1024\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024-960x720.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, ‘Public Smog: Earth’s Atmosphere as UNESCO World Heritage Preserve,’ Postcard, 2012. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While any country able to back the bid has yet to volunteer — the only positive response came from the Kingdom of Tonga, an archipelago in the South Pacific dealing with rising sea levels — Balkin points out that all properties currently inscribed on the World Heritage List, whether they’re tangible or intangible, will succumb to the effects of climate change if atmospheric pollution isn’t addressed. “There’s a fundamental reflexive opportunity there,” Balkin says.\u003c/p>\n\u003cp>Tanya Zimbardo, co-curator with Christian L. Frock of the Mills College \u003ci>Public Works\u003c/i> exhibition, says they wanted to include \u003ci>PUBLIC SMOG\u003c/i> because it’s both invisible and ubiquitous, impossible to ignore. “Some works in the show are focused on more traditional ideas of public space, plazas or street corners,” Zimbardo says. “This is something that is much more. This is thinking about a larger sense of borders or lack of borders, something that is different at different moments.”\u003c/p>\n\u003cfigure id=\"attachment_11105429\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105429\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/AmyMills.jpg\" alt=\"Amy Balkin, Installation view at Mills College Art Museum of 'PUBLIC SMOG,' 2004 – ongoing.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, Installation view at Mills College Art Museum of ‘PUBLIC SMOG,’ 2004 – ongoing. \u003ccite>(Courtesy: MCAM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of art’s capacities is to expand possibility. It’s to help think through problems of living,” Balkin says. The \u003ca href=\"http://www.cop21.gouv.fr/en/\" target=\"_blank\" rel=\"noopener\">United Nations conference on climate change\u003c/a> begins next week in Paris. And while the world’s leaders will float various schemes, goals and proposals in an attempt to slow the devastating effects of climate change, in the meantime we have \u003ci>PUBLIC SMOG\u003c/i>, another model for what might be.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cstrong>Public Works: Artists’ Interventions 1970s – Now\u003c/strong>\u003c/i> is on view at the Mills College Art Museum in Oakland through Dec. 13, 2015. Visit \u003ca href=\"http://mcam.mills.edu/exhibitions/current5.php\" target=\"_blank\" rel=\"noopener\">mcam.mills.edu\u003c/a> for more information.\u003c/p>\n\n",
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"title": "Public Park in the Sky Seeks to Protect Atmosphere | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area artist Amy Balkin doesn’t make paintings or sculptures, and she doesn’t have a photographic practice. In fact, you can’t see her artwork \u003cem>\u003ca href=\"http://www.publicsmog.org/\" target=\"_blank\" rel=\"noopener\">PUBLIC SMOG\u003c/a>\u003c/em> at all. But that doesn’t mean it’s not there.\u003c/p>\n\u003cp>\u003ci>PUBLIC SMOG\u003c/i> is a public park in the sky, created by buying carbon offsets. At a time when the air we breathe can be bought and sold on the free market, Balkin’s mind-bending conceptual art project seeks to protect that atmosphere by any means necessary — even if that means taking her case to the highest court in the land: the United Nations.\u003c/p>\n\u003cp>\u003cem>Listen to a discussion about \u003c/em>PUBLIC SMOG\u003cem> between artist Amy Balkin and KQED’s Sarah Hotchkiss:\u003c/em>\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/234594089″&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/234594089″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The ongoing artwork, currently on view in the form of the project’s paper trail and an accompanying slide show in the Mills College Art Museum’s exhibition \u003ci>\u003ca href=\"http://mcam.mills.edu/exhibitions/current5.php\" target=\"_blank\" rel=\"noopener\">Public Works: Artists’ Interventions 1970s – Now\u003c/a>\u003c/i>, began when Balkin started looking into carbon offsets, a trading scheme by which organizations or individuals can purchase credits to counter the negative environmental effects of their activities. Some carbon offsets fund renewable energy sources; others sponsor forestation projects. Regardless of their motives, all come under fire from some environmental groups as a quick method of alleviating carbon guilt without actually curtailing the sources of pollution.\u003c/p>\n\u003cfigure id=\"attachment_11105428\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105428\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/AmyReading.jpg\" alt=\"Amy Balkin, Stills from 'Reading the IPCC Synthesis Report: Summary for Policymakers,' 2008.\" width=\"1200\" height=\"378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-400x126.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-800x252.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-1180x372.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-960x302.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, Stills from ‘Reading the IPCC Synthesis Report: Summary for Policymakers,’ 2008. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Balkin first entered the emissions trading market and purchased the right to emit nitrogen oxide — a greenhouse gas — in Southern California. Instead of using those rights, she withheld them, making the offsets inaccessible to polluting industries and reserving that portion of the atmosphere as a “clean air park for the public.” Depending on the type of greenhouse gases the artist buys the rights to emit, the park manifests in different parts of the atmosphere. “The park isn’t something you can see,” Balkin says. “But it is something you can use.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But how exactly do you use a park you can’t physically access? Depending on which greenhouse gases Balkin buys the rights to emit, the park manifests in different parts of the atmosphere. Nitrogen oxides, sulfur dioxide and ozone all contribute to smog in the troposphere — or in the language of \u003ci>PUBLIC SMOG\u003c/i>, the “Lower Park.” Carbon dioxide, methane and nitrous oxide are the greenhouse gases of the stratosphere — aka the “Upper Park.”\u003c/p>\n\u003cp>Balkin lists the benefits of opening each park (that is, buying certain offsets) with a playful upswing in her voice. “The Lower Park features particulate-free breathing and lower risk athletic activity,” she says. “And the Upper Park activities include the ongoing enjoyment of glaciers, birds, plants, islands and coastal areas.”\u003c/p>\n\u003cp>Even if you personally can’t get to a glacier during a park’s open hours, know that someone, somewhere — maybe a polar bear — is enjoying its continued existence.\u003c/p>\n\u003cfigure id=\"attachment_11107443\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11107443\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/PublicSmogCube.jpg\" alt=\"Amy Balkin, Image from 'PUBLIC SMOG,' 2004 – ongoing.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, Image from ‘PUBLIC SMOG,’ 2004 – ongoing. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Balkin has long been interested in what happens when land, water and air become commodities — and how people become dispossessed from their own environments. \u003ci>\u003ca href=\"http://sinkingandmelting.tumblr.com/\" target=\"_blank\" rel=\"noopener\">A People’s Archive of Sinking and Melting\u003c/a>\u003c/i>, one of the artist’s ongoing projects, gathers items from places around the world that may disappear due to the effects of climate change. In the collection, the abstract facts and figures of rising sea levels, coastal erosion and desertification become personal stories illustrated by hand-picked mementos. \u003ci>\u003ca href=\"http://www.thisisthepublicdomain.org/\" target=\"_blank\" rel=\"noopener\">This is the Public Domain\u003c/a>\u003c/i>, also ongoing, attempts to create a permanent international commons, free to all forever, on 2.64 acres of land near Mojave, CA. And \u003ci>\u003ca href=\"http://www.invisible5.org/\" target=\"_blank\" rel=\"noopener\">Invisible-5\u003c/a>\u003c/i>, an audio tour of Interstate 5 from 2006, tells the stories of communities along the highly polluted corridor and their struggle for environmental justice.\u003c/p>\n\u003cp>Acknowledging the satirical aspects of \u003ci>PUBLIC SMOG\u003c/i>, Balkin is also quick to point out the serious environmental implications of the project. “It opens up a way for rethinking atmosphere, and a way for helping to remember the atmosphere. We’re breathing it, but we might not be visualizing it, or thinking about what that pollution looks like or its impacts.”\u003c/p>\n\u003cfigure id=\"attachment_11105434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/AmyBillboard.jpg\" alt=\"Amy Balkin, PUBLIC SMOG IS NO SUBSTITUTE FOR DIRECT ACTION, Billboard, Bonamoussadi, Douala, Cameroon, 2009.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, PUBLIC SMOG IS NO SUBSTITUTE FOR DIRECT ACTION, Billboard, Bonamoussadi, Douala, Cameroon, 2009. \u003ccite>(Photo: Benoît Mangin, courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Balkin last opened a clean air park for five months in 2010. Since then, the project has morphed into a different kind of campaign: a political one. The artist is now hard at work trying to get Earth’s atmosphere inscribed on \u003ca href=\"http://whc.unesco.org/en/list/\" target=\"_blank\" rel=\"noopener\">UNESCO’s World Heritage List\u003c/a>.\u003c/p>\n\u003cp>UNESCO deems sites on the list to have “outstanding universal value” and each site must meet at least one of 10 superlative-heavy criteria. Today, the World Heritage List includes 1,031 properties, ranging from historic Cairo to the Bikini Atoll Nuclear Test Site to California’s Redwood parks.\u003c/p>\n\u003cp>Balkin’s bid to get the atmosphere on the list gained momentum with her participation in \u003ci>documenta\u003c/i>, a high-profile international art exhibition in Kassel, Germany that takes place every five years. When Germany said no to backing Balkin’s bid to UNESCO, her installation at \u003ci>dOCUMENTA(13)\u003c/i> spawned a postcard-writing campaign, with 100,000 visitors from around the world sending letters to their governments in support of the atmosphere’s place on the World Heritage List.\u003c/p>\n\u003cfigure id=\"attachment_11105430\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105430\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024.jpg\" alt=\"Amy Balkin, 'Public Smog: Earth's Atmosphere as UNESCO World Heritage Preserve,' Postcard, 2012.\" width=\"1024\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024-960x720.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, ‘Public Smog: Earth’s Atmosphere as UNESCO World Heritage Preserve,’ Postcard, 2012. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While any country able to back the bid has yet to volunteer — the only positive response came from the Kingdom of Tonga, an archipelago in the South Pacific dealing with rising sea levels — Balkin points out that all properties currently inscribed on the World Heritage List, whether they’re tangible or intangible, will succumb to the effects of climate change if atmospheric pollution isn’t addressed. “There’s a fundamental reflexive opportunity there,” Balkin says.\u003c/p>\n\u003cp>Tanya Zimbardo, co-curator with Christian L. Frock of the Mills College \u003ci>Public Works\u003c/i> exhibition, says they wanted to include \u003ci>PUBLIC SMOG\u003c/i> because it’s both invisible and ubiquitous, impossible to ignore. “Some works in the show are focused on more traditional ideas of public space, plazas or street corners,” Zimbardo says. “This is something that is much more. This is thinking about a larger sense of borders or lack of borders, something that is different at different moments.”\u003c/p>\n\u003cfigure id=\"attachment_11105429\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105429\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/AmyMills.jpg\" alt=\"Amy Balkin, Installation view at Mills College Art Museum of 'PUBLIC SMOG,' 2004 – ongoing.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, Installation view at Mills College Art Museum of ‘PUBLIC SMOG,’ 2004 – ongoing. \u003ccite>(Courtesy: MCAM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of art’s capacities is to expand possibility. It’s to help think through problems of living,” Balkin says. The \u003ca href=\"http://www.cop21.gouv.fr/en/\" target=\"_blank\" rel=\"noopener\">United Nations conference on climate change\u003c/a> begins next week in Paris. And while the world’s leaders will float various schemes, goals and proposals in an attempt to slow the devastating effects of climate change, in the meantime we have \u003ci>PUBLIC SMOG\u003c/i>, another model for what might be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cstrong>Public Works: Artists’ Interventions 1970s – Now\u003c/strong>\u003c/i> is on view at the Mills College Art Museum in Oakland through Dec. 13, 2015. Visit \u003ca href=\"http://mcam.mills.edu/exhibitions/current5.php\" target=\"_blank\" rel=\"noopener\">mcam.mills.edu\u003c/a> for more information.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Gun Used in Oakland Muralist Killing Belonged to Federal Agent",
"title": "Gun Used in Oakland Muralist Killing Belonged to Federal Agent",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>Homicide investigators with the Oakland Police Department today confirmed that the firearm used in the Sept. 29 fatal shooting of muralist Antonio Ramos had been stolen, and belonged to a U.S. Immigration and Customs Enforcement agent.\u003c/p>\n\u003cp>“The firearm used in the murder of Antonio Ramos on September 29, 2015 was reported as property taken in a burglary,” OPD spokesperson Johnna Watson noted in a statement sent to reporters. “The stolen firearm is associated with the Federal Agency, Department of Homeland Security (ICE).”\u003c/p>\n\u003cp>In a separate statement, ICE confirmed that a firearm was stolen from an ICE agent’s vehicle in San Francisco on Sept. 13.\u003c/p>\n\u003cp>“A duty weapon belonging to an officer with U.S. Immigration and Customs Enforcement's (ICE) Enforcement and Removal Operations (ERO) was stolen Sept. 13 in San Francisco from a vehicle being used by the officer,” James Schwab, an ICE spokesman in San Francisco, wrote in an emailed statement to KQED News in response to questions about the stolen firearm used in the Ramos shooting.\u003c/p>\n\u003cp>“The theft was properly reported to local authorities and through official federal channels,” Schwab added. “The matter is currently under investigation by ICE's Office of Professional Responsibility.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ramos, 27, was \u003ca href=\"http://ww2.kqed.org/arts/2015/09/29/artist-shot-killed-while-working-on-west-oakland-community-mural/\">gunned down in West Oakland \u003c/a>while working on a mural project on the 2500 block of West Street beneath a freeway overpass. The community art project was sponsored by Attitudinal Healing Connection of Oakland, a nonprofit with a mission of breaking cycles of violence through creativity and education.\u003c/p>\n\u003cp>OPD announced Tuesday that it had made an arrest in the Ramos killing, and would charge \u003ca href=\"http://ww2.kqed.org/news/2015/11/24/oakland-man-20-charged-with-murder-in-killing-of-muralist\" target=\"_blank\">20-year-old Marquise Holloway with murder\u003c/a> and multiple counts of robbery.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfgate.com/news/article/Gun-used-to-kill-Oakland-muralist-traced-to-ICE-6657172.php?cmpid=brknow\" target=\"_blank\">San Francisco Chronicle\u003c/a> reported that the gun used to kill Ramos was a Glock 26 pistol, and that the 9mm firearm had been stolen from a rental car parked at Second and South Park streets by two ICE agents visiting from out of town.\u003c/p>\n\u003cp>This marks the second high-profile Bay Area shooting in the past six months to be linked to the theft of a firearm from a federal agent’s vehicle.\u003c/p>\n\u003cp>In July, 32-year-old Kate Steinle was shot and killed while walking with her father along San Francisco’s crowded Pier 14. The case touched off a national media firestorm because \u003ca href=\"http://ww2.kqed.org/news/2015/09/04/accused-pier-14-shooter-to-face-murder-charges-at-trial\">suspect Juan Francisco Lopez-Sanchez\u003c/a> was released from the custody of the San Francisco Sheriff's Department instead of being turned over to ICE custody.\u003c/p>\n\u003cp>Steinle's family is pursing legal action against the San Francisco Sheriff's Department and ICE -- but is also suing the federal Bureau of Land Management, alleging a ranger failed to properly secure the handgun when it was stolen from his car parked in San Francisco four days before Steinle was shot.\u003c/p>\n\u003cp>Nor were these the only recorded gun thefts. A recent NBC Bay Area investigation revealed that \u003ca href=\"http://www.nbcbayarea.com/investigations/Unaccounted-For-Hundreds-of-Guns-Lost-or-Stolen-From-Bay-Area-Police-Agencies-Since-2010-350768311.html%20since%202010\">more than 500 weapons had gone missing\u003c/a> from eight different Bay Area law enforcement agencies.\u003c/p>\n\u003cp>On Nov. 19 a San Francisco Board of Supervisors committee held a hearing on \u003ca href=\"http://ww2.kqed.org/news/2015/09/22/campos-to-float-legislation-to-address-pier-14-shooting-uphold-sanctuary-city\">proposed legislation\u003c/a> aimed at preventing gun theft from vehicles parked in the city.\u003c/p>\n\u003cp>Supervisor David Campos, who authored the legislation, had initially crafted it to apply only to off-duty law enforcement officers employed by the city and county. However, he expanded the proposal to address all cases where firearms could potentially be left unsecured in vehicles.\u003c/p>\n\u003cp>“It would be the first law in the city and county of San Francisco that would say that if you leave a firearm in your vehicle, there are certain things that you have to do to make sure that the firearm does not end up in the wrong hands,” Campos told KQED’s Tara Siler in a recent interview.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If the trunk is an enclosed space in the vehicle, you can leave it in the trunk, locked. But if not, then you have to put it in a lock box. This law … addresses what we know is a trend, not only in the Bay Area but also in the rest of the country, where you have a lot of firearms that have been stolen from these vehicles. And they end up being used in pretty heinous crimes.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Homicide investigators with the Oakland Police Department today confirmed that the firearm used in the Sept. 29 fatal shooting of muralist Antonio Ramos had been stolen, and belonged to a U.S. Immigration and Customs Enforcement agent.\u003c/p>\n\u003cp>“The firearm used in the murder of Antonio Ramos on September 29, 2015 was reported as property taken in a burglary,” OPD spokesperson Johnna Watson noted in a statement sent to reporters. “The stolen firearm is associated with the Federal Agency, Department of Homeland Security (ICE).”\u003c/p>\n\u003cp>In a separate statement, ICE confirmed that a firearm was stolen from an ICE agent’s vehicle in San Francisco on Sept. 13.\u003c/p>\n\u003cp>“A duty weapon belonging to an officer with U.S. Immigration and Customs Enforcement's (ICE) Enforcement and Removal Operations (ERO) was stolen Sept. 13 in San Francisco from a vehicle being used by the officer,” James Schwab, an ICE spokesman in San Francisco, wrote in an emailed statement to KQED News in response to questions about the stolen firearm used in the Ramos shooting.\u003c/p>\n\u003cp>“The theft was properly reported to local authorities and through official federal channels,” Schwab added. “The matter is currently under investigation by ICE's Office of Professional Responsibility.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ramos, 27, was \u003ca href=\"http://ww2.kqed.org/arts/2015/09/29/artist-shot-killed-while-working-on-west-oakland-community-mural/\">gunned down in West Oakland \u003c/a>while working on a mural project on the 2500 block of West Street beneath a freeway overpass. The community art project was sponsored by Attitudinal Healing Connection of Oakland, a nonprofit with a mission of breaking cycles of violence through creativity and education.\u003c/p>\n\u003cp>OPD announced Tuesday that it had made an arrest in the Ramos killing, and would charge \u003ca href=\"http://ww2.kqed.org/news/2015/11/24/oakland-man-20-charged-with-murder-in-killing-of-muralist\" target=\"_blank\">20-year-old Marquise Holloway with murder\u003c/a> and multiple counts of robbery.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfgate.com/news/article/Gun-used-to-kill-Oakland-muralist-traced-to-ICE-6657172.php?cmpid=brknow\" target=\"_blank\">San Francisco Chronicle\u003c/a> reported that the gun used to kill Ramos was a Glock 26 pistol, and that the 9mm firearm had been stolen from a rental car parked at Second and South Park streets by two ICE agents visiting from out of town.\u003c/p>\n\u003cp>This marks the second high-profile Bay Area shooting in the past six months to be linked to the theft of a firearm from a federal agent’s vehicle.\u003c/p>\n\u003cp>In July, 32-year-old Kate Steinle was shot and killed while walking with her father along San Francisco’s crowded Pier 14. The case touched off a national media firestorm because \u003ca href=\"http://ww2.kqed.org/news/2015/09/04/accused-pier-14-shooter-to-face-murder-charges-at-trial\">suspect Juan Francisco Lopez-Sanchez\u003c/a> was released from the custody of the San Francisco Sheriff's Department instead of being turned over to ICE custody.\u003c/p>\n\u003cp>Steinle's family is pursing legal action against the San Francisco Sheriff's Department and ICE -- but is also suing the federal Bureau of Land Management, alleging a ranger failed to properly secure the handgun when it was stolen from his car parked in San Francisco four days before Steinle was shot.\u003c/p>\n\u003cp>Nor were these the only recorded gun thefts. A recent NBC Bay Area investigation revealed that \u003ca href=\"http://www.nbcbayarea.com/investigations/Unaccounted-For-Hundreds-of-Guns-Lost-or-Stolen-From-Bay-Area-Police-Agencies-Since-2010-350768311.html%20since%202010\">more than 500 weapons had gone missing\u003c/a> from eight different Bay Area law enforcement agencies.\u003c/p>\n\u003cp>On Nov. 19 a San Francisco Board of Supervisors committee held a hearing on \u003ca href=\"http://ww2.kqed.org/news/2015/09/22/campos-to-float-legislation-to-address-pier-14-shooting-uphold-sanctuary-city\">proposed legislation\u003c/a> aimed at preventing gun theft from vehicles parked in the city.\u003c/p>\n\u003cp>Supervisor David Campos, who authored the legislation, had initially crafted it to apply only to off-duty law enforcement officers employed by the city and county. However, he expanded the proposal to address all cases where firearms could potentially be left unsecured in vehicles.\u003c/p>\n\u003cp>“It would be the first law in the city and county of San Francisco that would say that if you leave a firearm in your vehicle, there are certain things that you have to do to make sure that the firearm does not end up in the wrong hands,” Campos told KQED’s Tara Siler in a recent interview.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If the trunk is an enclosed space in the vehicle, you can leave it in the trunk, locked. But if not, then you have to put it in a lock box. This law … addresses what we know is a trend, not only in the Bay Area but also in the rest of the country, where you have a lot of firearms that have been stolen from these vehicles. And they end up being used in pretty heinous crimes.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sophie Sartain had long worked in documentary filmmaking as a writer and editor. For her first film as a director, she turned the camera on her own family.\u003c/p>\n\u003cp>Starting in 2009, she began filming her grandmother Mimi, then 92, who had cared for Sartain's aunt, Dona, for decades. Dona has an intellectual disability and \"perhaps some undiagnosed autism,\" Sartain says. From there the film \u003cem>\u003ca href=\"http://www.pbs.org/independentlens/films/mimi-and-dona/\" target=\"_blank\">Mimi and Dona\u003c/a>\u003c/em> was born. It was released earlier this week on PBS' \u003ca href=\"http://www.pbs.org/independentlens/films/mimi-and-dona/\" target=\"_blank\">\u003cem>Independent Lens\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Sartain's grandmother was a \"wonderful moving presence\" who selflessly devoted herself to caring for her daughter. \"Could I be like that?\" Sartain wondered. \"I'm not that good, I'm not that unselfish. How could I measure up to Mimi?\"\u003c/p>\n\u003cp>But soon she would discover how her own path would overlap with that of her grandmother. \"It was during filming that I started to fear my own son might have autism,\" Sartain says. \"And I wondered if I was just beginning a journey that Mimi had just ended.\"\u003c/p>\n\u003cp>Her son Ben was diagnosed with autism. Sartain says she saw how her grandmother could be a role model for her and created this second, shorter, documentary, \u003cem>Sophie and Ben\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Mimi and Dona\u003ca href=\"http://video.pbs.org/video/2365601272/\" target=\"_blank\"> is streaming online through Dec. 23, 2015.\u003c/a> \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can learn more about the film and filmmaker Sophie Sartain by visiting \u003ca href=\"http://www.pbs.org/independentlens/films/mimi-and-dona/\" target=\"_blank\">Independent Lens\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sophie Sartain had long worked in documentary filmmaking as a writer and editor. For her first film as a director, she turned the camera on her own family.\u003c/p>\n\u003cp>Starting in 2009, she began filming her grandmother Mimi, then 92, who had cared for Sartain's aunt, Dona, for decades. Dona has an intellectual disability and \"perhaps some undiagnosed autism,\" Sartain says. From there the film \u003cem>\u003ca href=\"http://www.pbs.org/independentlens/films/mimi-and-dona/\" target=\"_blank\">Mimi and Dona\u003c/a>\u003c/em> was born. It was released earlier this week on PBS' \u003ca href=\"http://www.pbs.org/independentlens/films/mimi-and-dona/\" target=\"_blank\">\u003cem>Independent Lens\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Sartain's grandmother was a \"wonderful moving presence\" who selflessly devoted herself to caring for her daughter. \"Could I be like that?\" Sartain wondered. \"I'm not that good, I'm not that unselfish. How could I measure up to Mimi?\"\u003c/p>\n\u003cp>But soon she would discover how her own path would overlap with that of her grandmother. \"It was during filming that I started to fear my own son might have autism,\" Sartain says. \"And I wondered if I was just beginning a journey that Mimi had just ended.\"\u003c/p>\n\u003cp>Her son Ben was diagnosed with autism. Sartain says she saw how her grandmother could be a role model for her and created this second, shorter, documentary, \u003cem>Sophie and Ben\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mimi and Dona\u003ca href=\"http://video.pbs.org/video/2365601272/\" target=\"_blank\"> is streaming online through Dec. 23, 2015.\u003c/a> \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can learn more about the film and filmmaker Sophie Sartain by visiting \u003ca href=\"http://www.pbs.org/independentlens/films/mimi-and-dona/\" target=\"_blank\">Independent Lens\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cynthia-robinson-co-founder-of-sly-the-family-stone-dies-at-69",
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"content": "\u003cp>Groundbreaking trumpeter and singer Cynthia Robinson, a co-founder of the pivotal funk band \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly & The Family Stone\u003c/a>, died Monday night at age 69. Her death was confirmed by her bandmate and friend Jerry Martini, another co-founder of the Family Stone.\u003c/p>\n\u003cp>In October, Robinson disclosed that she was suffering from cancer, in an online \u003ca href=\"https://www.giveforward.com/fundraiser/g2gb/cynthia-robinson-cancer-care-fund\" target=\"_blank\" rel=\"noopener\">fundraiser\u003c/a> launched to help defray her medical bills.\u003c/p>\n\u003cp>Robinson was an integral member of The Family Stone. It’s her voice that urges fans to “Dance to the Music,” and her horn that \u003cbr>blazed through the band’s sets, from hits like “Thank You (Falettinme Be Mice Elf Agin)” to lesser-known gems like “\u003ca href=\"https://www.youtube.com/watch?v=HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4URogrXiKsI\u003c/p>\n\u003cp>In a 2013 profile aired on Morning Edition, Robinson said that Sly Stone wanted the band to be a galvanizing social force. “He made things very simple: to stand for what you believe in,” she said. “He knew how to touch upon subjects that meant something to masses of people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Sacramento in 1946 before moving to the Bay Area, Robinson joined Stone’s band in 1966 — in an era when being a female trumpet player, and an African-American trumpeter in a major band, was a singular achievement. In an undated interview with \u003ca href=\"http://openvault.wgbh.org/catalog/377a1b-interview-with-cynthia-robinson\" target=\"_blank\" rel=\"noopener\">WBGH\u003c/a>, Robinson said that while she was growing up, other kids gave her a hard time about playing her instrument: “It left me with the impression that, you know, no guy in the world would let a girl play the trumpet in his group.”\u003c/p>\n\u003cp>Robinson had two daughters, Laura Marie and Sylvette Phunne Stone, the latter with Sly Stone. This July, Robinson and her daughter Phunne released the single \u003ca href=\"https://www.youtube.com/watch?v=nNNOMqIyTjQ\" target=\"_blank\" rel=\"noopener\">“Do Yo Dance”\u003c/a> with the Family Stone.\u003c/p>\n\u003cp>After Sly Stone & The Family Band dispersed in the late 1970s (partly due to Stone’s drug abuse), Robinson and bandmates including saxophonist Jerry Martini continued to play together as The Family Stone. Robinson also played with such artists as Prince, George Clinton’s Funkadelic, and Graham Central Station, led by former bassist for Sly and the Family Stone, Larry Graham.\u003c/p>\n\u003cp>In 1993, Sly and the Family Stone were inducted into the Rock and Roll Hall of Fame. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many artists have written remembrances about the influential trumpeter on social media, but the one written by Roots drummer Questlove (Ahmir Khalib Thompson) really sums up Robinson’s impact well:\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin: 10px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:50.0% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/-dvyB3wa-x/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">All The Squares Go Home. Goodbye to Cynthia Robinson. Music's original \"hypeman\" 20 years before Public Enemy pioneered the \"Vice President\" position. But she wasn't just a screaming cheerleading foil to Sly & Freddie's gospel vocals. She was a KICK ASS trumpet player. A crucial intricate part of Sly Stone's utopian vision of MLK's America: Sly & The Family Stone were brothers & cousins. friends & enemies. black & white. male & female. saint & sinner. common man & superheroes. guarded & vulnerable. poets & punks. hip & square. She was so cool to us the day we opened up for #SlyAndTheFamilyStone she never ever lost a step or a beat. Even when we weren't so sure if Sly was coming or going during that \"comeback\" tour (he'd play 20 mins, come onstage and cameo w em for 2 songs, leave, watch them then come back 30 mins later) Cynthia Robinson held that band down. Until her passing The Family Stone was one of the last few #RRHOF groups from the 60s in which ALL original members were still present & accounted for. part of me held hope that #LarryGraham would bury the hatchet & return to the fold just one more time (could you imagine HOW powerful a Sly #GCS combo coulda been? Even if Sly pulled that 6 song ish you know and I know #Prince would be in the wings as pinch hitter and we'd all be the more wiser for it. Cynthia's role in music history isn't celebrated enough. Her & sister Rose weren't just pretty accessories there to \"coo\" & \"shoo wop shoo bob\" while the boys got the glory. Naw. They took names and kicked ass while you were dancing in the aisle. Much respect to amazing #CynthiaRobinson\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Questlove Gomez (@questlove) on Nov 24, 2015 at 2:48am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Cynthia+Robinson%2C+Co-Founder+Of+Sly+%26+The+Family+Stone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The woman who urged fans to \"Dance to the Music\" was a trailblazing trumpeter. She died Monday at age 69.",
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"title": "Cynthia Robinson, Co-Founder Of Sly & The Family Stone, Dies at 69 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Groundbreaking trumpeter and singer Cynthia Robinson, a co-founder of the pivotal funk band \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly & The Family Stone\u003c/a>, died Monday night at age 69. Her death was confirmed by her bandmate and friend Jerry Martini, another co-founder of the Family Stone.\u003c/p>\n\u003cp>In October, Robinson disclosed that she was suffering from cancer, in an online \u003ca href=\"https://www.giveforward.com/fundraiser/g2gb/cynthia-robinson-cancer-care-fund\" target=\"_blank\" rel=\"noopener\">fundraiser\u003c/a> launched to help defray her medical bills.\u003c/p>\n\u003cp>Robinson was an integral member of The Family Stone. It’s her voice that urges fans to “Dance to the Music,” and her horn that \u003cbr>blazed through the band’s sets, from hits like “Thank You (Falettinme Be Mice Elf Agin)” to lesser-known gems like “\u003ca href=\"https://www.youtube.com/watch?v=HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\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/4URogrXiKsI'\n title='//www.youtube.com/embed/4URogrXiKsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a 2013 profile aired on Morning Edition, Robinson said that Sly Stone wanted the band to be a galvanizing social force. “He made things very simple: to stand for what you believe in,” she said. “He knew how to touch upon subjects that meant something to masses of people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Sacramento in 1946 before moving to the Bay Area, Robinson joined Stone’s band in 1966 — in an era when being a female trumpet player, and an African-American trumpeter in a major band, was a singular achievement. In an undated interview with \u003ca href=\"http://openvault.wgbh.org/catalog/377a1b-interview-with-cynthia-robinson\" target=\"_blank\" rel=\"noopener\">WBGH\u003c/a>, Robinson said that while she was growing up, other kids gave her a hard time about playing her instrument: “It left me with the impression that, you know, no guy in the world would let a girl play the trumpet in his group.”\u003c/p>\n\u003cp>Robinson had two daughters, Laura Marie and Sylvette Phunne Stone, the latter with Sly Stone. This July, Robinson and her daughter Phunne released the single \u003ca href=\"https://www.youtube.com/watch?v=nNNOMqIyTjQ\" target=\"_blank\" rel=\"noopener\">“Do Yo Dance”\u003c/a> with the Family Stone.\u003c/p>\n\u003cp>After Sly Stone & The Family Band dispersed in the late 1970s (partly due to Stone’s drug abuse), Robinson and bandmates including saxophonist Jerry Martini continued to play together as The Family Stone. Robinson also played with such artists as Prince, George Clinton’s Funkadelic, and Graham Central Station, led by former bassist for Sly and the Family Stone, Larry Graham.\u003c/p>\n\u003cp>In 1993, Sly and the Family Stone were inducted into the Rock and Roll Hall of Fame. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many artists have written remembrances about the influential trumpeter on social media, but the one written by Roots drummer Questlove (Ahmir Khalib Thompson) really sums up Robinson’s impact well:\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin: 10px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:50.0% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/-dvyB3wa-x/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">All The Squares Go Home. Goodbye to Cynthia Robinson. Music's original \"hypeman\" 20 years before Public Enemy pioneered the \"Vice President\" position. But she wasn't just a screaming cheerleading foil to Sly & Freddie's gospel vocals. She was a KICK ASS trumpet player. A crucial intricate part of Sly Stone's utopian vision of MLK's America: Sly & The Family Stone were brothers & cousins. friends & enemies. black & white. male & female. saint & sinner. common man & superheroes. guarded & vulnerable. poets & punks. hip & square. She was so cool to us the day we opened up for #SlyAndTheFamilyStone she never ever lost a step or a beat. Even when we weren't so sure if Sly was coming or going during that \"comeback\" tour (he'd play 20 mins, come onstage and cameo w em for 2 songs, leave, watch them then come back 30 mins later) Cynthia Robinson held that band down. Until her passing The Family Stone was one of the last few #RRHOF groups from the 60s in which ALL original members were still present & accounted for. part of me held hope that #LarryGraham would bury the hatchet & return to the fold just one more time (could you imagine HOW powerful a Sly #GCS combo coulda been? Even if Sly pulled that 6 song ish you know and I know #Prince would be in the wings as pinch hitter and we'd all be the more wiser for it. Cynthia's role in music history isn't celebrated enough. Her & sister Rose weren't just pretty accessories there to \"coo\" & \"shoo wop shoo bob\" while the boys got the glory. Naw. They took names and kicked ass while you were dancing in the aisle. Much respect to amazing #CynthiaRobinson\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Questlove Gomez (@questlove) on Nov 24, 2015 at 2:48am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Cynthia+Robinson%2C+Co-Founder+Of+Sly+%26+The+Family+Stone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "show-me-yours-the-forty-part-motet-al-madrigal-and-more",
"title": "Show Me Yours: 'The Forty Part Motet', Al Madrigal, and more",
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"headTitle": "Show Me Yours: ‘The Forty Part Motet’, Al Madrigal, and more | KQED",
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"content": "\u003cp>If there’s one thing you shouldn’t pass up this holiday season, it’s the opportunity to experience \u003cem>\u003ca href=\"http://fortmason.org/event/forty-part-motet/\" target=\"_blank\" rel=\"noopener\">The Forty Part Motet\u003c/a>\u003c/em> at the Fort Mason Center on San Francisco’s waterfront. While an otherwise-featureless room containing nothing but a bunch of faceless speakers pumping out a recording of a 16th century choral music work sounds about as appealing as being forced to attend choir practice when you’re a teenager, Janet Cardiff’s epic sound installation has to be one of the most profound pieces of performance art I’ve ever witnessed.\u003c/p>\n\u003cp>The Canadian artist wanted to find a way to “climb inside” complex music, to hear all the separate parts in a way that isn’t possible when you experience a live concert or regular recording. So she picked on one of the greatest choral works ever created —\u003cem> Spem in Alium\u003c/em>, a sacred motet written for a whopping 40 individual vocal lines by the English Renaissance composer Thomas Tallis around 1570 — and collaborated with the august Salisbury Cathedral Choir in 2000 to record each individual part separately. Visitors to the installation wander around a room in which 40 speakers standing at ear level on skinny tripods arranged in a large oval shape pump out the music. There is one speaker for each vocal line, so you can either stand in the middle of the space and feel the entire piece washing over you. Or you can sidle up to a specific speaker and hear a solitary voice sing their part, and then move on to another voice.\u003c/p>\n\u003cp>And here’s why the work made such an impression on me: In the wake of the appalling terrorist attacks in Paris, Cardiff’s installation gave me an unexpected feeling of sadness and hope. As I listened to the specific voices coming out of the separate speakers, I could hear the unique beauty — and, every now and again, the falterings — of each one. It was as if those impassive noise-emitting cubes suddenly came to life! But then, taking a step back, the individual voices that seemed so pronounced with my ear up to a speaker merged together into a perfect, seamless whole. All I could think as I was hit by Tallis’ soaring polyphony was about the power of the collective spirit to come together and overcome challenges and tragedies like the one that unfolded in Paris the other night.\u003c/p>\n\u003cp>The \u003cem>Forty Part Motet\u003c/em> is just one of the many performing arts events going on in the Bay Area this week. Here are a few more that caught my eye:\u003c/p>\n\u003cfigure id=\"attachment_11104899\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11104899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg\" alt=\"'Una noche tropical' at Dance Mission Theater\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Una Noche Tropical’ at Dance Mission Theater \u003ccite>(Photo: Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Saturday, Dec. 5: \u003cem>\u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">Explosión Cubana: Una Noche Tropical\u003c/a> \u003c/em>at Dance Mission Theater, San Francisco\u003c/strong>\u003cbr>\nCuba is changing fast. With Netflix and AirB&B already doing business with the until-recently-contraband Caribbean island and a gazillion U.S. tourists on the verge of a stampede, it might not be too long before the popular idea of Cuba as a run-down, rum-soaked paradise of hot nightclubs and cool vintage cars might become divorced from reality. CubaCaribe and Dance Mission Theater intend to keep the popular idea real with their joint effort to evoke the cigar-smoke-spirit of Havana’s famous Tropicana nightclub right in the heart of The Mission. The cabaret-style soiree explores the evolution of Cuban music and dance with the help of members of the Alayo Dance Company, headed by CubaCaribe artistic director Ramon Ramos Alayo, and live music from Patricio Angulo. Dinner is part of the show too, with Cubano delicacies like pork, plantains and yuca — all fried, best washed down with mojitos — on the menu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 25: \u003ca href=\"http://www.punchlinecomedyclub.com/events/eventdetail/?viewNav=/eventdetail&eventId=1C004F3DCE043093&oid=18510\" target=\"_blank\" rel=\"noopener\">Al Madrigal\u003c/a> at Punchline Comedy Club, San Francisco\u003c/strong>\u003cbr>\nComedian, actor and San Francisco native Al Madrigal started out doing standup in local clubs before taking his wry brand of social satire to primetime TV, appearing as a regular on \u003cem>The Daily Show\u003c/em> and NBC’s \u003cem>About a Boy\u003c/em> with David Walton and Minnie Driver, among other fare. A comedian obsessed with his roots — Madrigal is of Mexican and Sicilian extraction and devoted his recently-released one hour documentary \u003cem>Half Like Me\u003c/em> to exploring his Latino heritage — the comic now returns home to San Francisco for a live recording of his new album. It’ll be an intimate affair: The Punchline, one of the city’s longest running comedy clubs, has less than 200 seats.\u003c/p>\n\u003cfigure id=\"attachment_11104562\" class=\"wp-caption alignright\" style=\"max-width: 744px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104562\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\" alt=\"A scene from 'Sunlight' by Sharr White at Dragon Theatre\" width=\"744\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg 744w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-400x222.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-672x372.jpg 672w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Sunlight’ by Sharr White at Dragon Theatre \u003ccite>(Photo: Kimberly Wadycki/Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec 13: \u003cem>\u003ca href=\"http://dragonproductions.net/box-office/2015tickets/sunlight.html\" target=\"_blank\" rel=\"noopener\">Sunlight\u003c/a>\u003c/em> at Dragon Theatre Company, Redwood City\u003c/strong>\u003cbr>\nLike Al Madrigal, American playwright Sharr White likes to return to his Bay Area roots every once in awhile. The San Francisco State and American Conservatory Theater grad launched his career here before his dramas \u003cem>The Other Place\u003c/em> and \u003cem>The Snow Geese\u003c/em> hit Broadway. But White continues his allegiance to Bay Area stages, premiering his plays \u003cem>Annapurna\u003c/em> and \u003cem>Sunlight\u003c/em> at The Magic Theatre and Marin Theatre Company respectively in recent years. \u003cem>Sunlight\u003c/em>, White’s 2010 drama exploring terrorism and its impact on civilians, is getting a new production right now with Redwood City’s feisty Dragon Theatre Company. The group has produced a couple of the White’s works in the past. In the wake of the Paris attacks a couple of weeks ago, this drama about the turmoil that arises on a university campus over a memo from a faculty member justifying the use of torture, couldn’t be more timely.\u003c/p>\n\u003cfigure id=\"attachment_11104558\" class=\"wp-caption alignright\" style=\"max-width: 557px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104558\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\" alt=\"A scene from Ayad Akhtar’s 'Disgraced' at Berkeley Rep.\" width=\"557\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg 557w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821-400x221.jpg 400w\" sizes=\"(max-width: 557px) 100vw, 557px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Ayad Akhtar’s ‘Disgraced’ at Berkeley Rep. \u003ccite>(Photo: Liz Lauren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Disgraced\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003c/strong>\u003cbr>\nPakistani-American playwright Ayad Akhtar’s Pulitzer Prize-winning 2013 play \u003cem>Disgraced\u003c/em> takes a different look at life in our post 9/11 world. The polished Berkeley Rep production directed by Kimberly Senior (who helmed the impactful play on its journey from Chicago to London’s West West End and on to Broadway before mounting this west coast premiere) deftly captures the story of a high-powered New York lawyer’s complex relationship with his Islamic roots. Exploring the challenges of Muslim identity in the United States today, Akhtar shatters assumptions about religion and race as he keenly exposes the lies and deceit embedded deep within his protagonist’s psyche. \u003cem>Read KQED’s interview with the playwright \u003ca href=\"http://ww2.kqed.org/arts/2015/11/21/pulitzer-prize-winning-playwright-on-islamophobia-and-religious-extremism/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003ca href=\"http://www.dickensfair.com/\" target=\"_blank\" rel=\"noopener\">The Dickens Fair\u003c/a> at Cow Palace, San Francisco\u003c/strong>\u003cbr>\nChristmas Eve goes on for a full five weeks in this annual holiday favorite where Bay Area residents don hoop skirts and top hats and make believe that Cow Palace in 2015 is Merrie Olde Englande circa 1850. The event is a great place to pick up holiday gifts and pig out on cakes and ale. But it’s the theatricality of the thing that makes this fair stand out from other similar holiday pageants. If the hoards of actors wandering about dressed up as characters from Dickens novels aren’t enough to take you back to Christmas past, participating in an English country dance, watching the Stark Ravens Players’ original musical version of \u003cem>Pinocchio\u003c/em>, or — if you’re a grownup — getting your kicks at the titillating \u003cem>Dickens After Dark\u003c/em> revue, surely will.\u003c/p>\n\n",
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"excerpt": "This week our critic's performing arts picks also include a celebration of Cuban culture, plays about terrorism and Islamic identity and the annual Dickens Fair.",
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"title": "Show Me Yours: 'The Forty Part Motet', Al Madrigal, and more | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s one thing you shouldn’t pass up this holiday season, it’s the opportunity to experience \u003cem>\u003ca href=\"http://fortmason.org/event/forty-part-motet/\" target=\"_blank\" rel=\"noopener\">The Forty Part Motet\u003c/a>\u003c/em> at the Fort Mason Center on San Francisco’s waterfront. While an otherwise-featureless room containing nothing but a bunch of faceless speakers pumping out a recording of a 16th century choral music work sounds about as appealing as being forced to attend choir practice when you’re a teenager, Janet Cardiff’s epic sound installation has to be one of the most profound pieces of performance art I’ve ever witnessed.\u003c/p>\n\u003cp>The Canadian artist wanted to find a way to “climb inside” complex music, to hear all the separate parts in a way that isn’t possible when you experience a live concert or regular recording. So she picked on one of the greatest choral works ever created —\u003cem> Spem in Alium\u003c/em>, a sacred motet written for a whopping 40 individual vocal lines by the English Renaissance composer Thomas Tallis around 1570 — and collaborated with the august Salisbury Cathedral Choir in 2000 to record each individual part separately. Visitors to the installation wander around a room in which 40 speakers standing at ear level on skinny tripods arranged in a large oval shape pump out the music. There is one speaker for each vocal line, so you can either stand in the middle of the space and feel the entire piece washing over you. Or you can sidle up to a specific speaker and hear a solitary voice sing their part, and then move on to another voice.\u003c/p>\n\u003cp>And here’s why the work made such an impression on me: In the wake of the appalling terrorist attacks in Paris, Cardiff’s installation gave me an unexpected feeling of sadness and hope. As I listened to the specific voices coming out of the separate speakers, I could hear the unique beauty — and, every now and again, the falterings — of each one. It was as if those impassive noise-emitting cubes suddenly came to life! But then, taking a step back, the individual voices that seemed so pronounced with my ear up to a speaker merged together into a perfect, seamless whole. All I could think as I was hit by Tallis’ soaring polyphony was about the power of the collective spirit to come together and overcome challenges and tragedies like the one that unfolded in Paris the other night.\u003c/p>\n\u003cp>The \u003cem>Forty Part Motet\u003c/em> is just one of the many performing arts events going on in the Bay Area this week. Here are a few more that caught my eye:\u003c/p>\n\u003cfigure id=\"attachment_11104899\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11104899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg\" alt=\"'Una noche tropical' at Dance Mission Theater\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Una Noche Tropical’ at Dance Mission Theater \u003ccite>(Photo: Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Saturday, Dec. 5: \u003cem>\u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">Explosión Cubana: Una Noche Tropical\u003c/a> \u003c/em>at Dance Mission Theater, San Francisco\u003c/strong>\u003cbr>\nCuba is changing fast. With Netflix and AirB&B already doing business with the until-recently-contraband Caribbean island and a gazillion U.S. tourists on the verge of a stampede, it might not be too long before the popular idea of Cuba as a run-down, rum-soaked paradise of hot nightclubs and cool vintage cars might become divorced from reality. CubaCaribe and Dance Mission Theater intend to keep the popular idea real with their joint effort to evoke the cigar-smoke-spirit of Havana’s famous Tropicana nightclub right in the heart of The Mission. The cabaret-style soiree explores the evolution of Cuban music and dance with the help of members of the Alayo Dance Company, headed by CubaCaribe artistic director Ramon Ramos Alayo, and live music from Patricio Angulo. Dinner is part of the show too, with Cubano delicacies like pork, plantains and yuca — all fried, best washed down with mojitos — on the menu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 25: \u003ca href=\"http://www.punchlinecomedyclub.com/events/eventdetail/?viewNav=/eventdetail&eventId=1C004F3DCE043093&oid=18510\" target=\"_blank\" rel=\"noopener\">Al Madrigal\u003c/a> at Punchline Comedy Club, San Francisco\u003c/strong>\u003cbr>\nComedian, actor and San Francisco native Al Madrigal started out doing standup in local clubs before taking his wry brand of social satire to primetime TV, appearing as a regular on \u003cem>The Daily Show\u003c/em> and NBC’s \u003cem>About a Boy\u003c/em> with David Walton and Minnie Driver, among other fare. A comedian obsessed with his roots — Madrigal is of Mexican and Sicilian extraction and devoted his recently-released one hour documentary \u003cem>Half Like Me\u003c/em> to exploring his Latino heritage — the comic now returns home to San Francisco for a live recording of his new album. It’ll be an intimate affair: The Punchline, one of the city’s longest running comedy clubs, has less than 200 seats.\u003c/p>\n\u003cfigure id=\"attachment_11104562\" class=\"wp-caption alignright\" style=\"max-width: 744px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104562\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\" alt=\"A scene from 'Sunlight' by Sharr White at Dragon Theatre\" width=\"744\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg 744w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-400x222.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-672x372.jpg 672w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Sunlight’ by Sharr White at Dragon Theatre \u003ccite>(Photo: Kimberly Wadycki/Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec 13: \u003cem>\u003ca href=\"http://dragonproductions.net/box-office/2015tickets/sunlight.html\" target=\"_blank\" rel=\"noopener\">Sunlight\u003c/a>\u003c/em> at Dragon Theatre Company, Redwood City\u003c/strong>\u003cbr>\nLike Al Madrigal, American playwright Sharr White likes to return to his Bay Area roots every once in awhile. The San Francisco State and American Conservatory Theater grad launched his career here before his dramas \u003cem>The Other Place\u003c/em> and \u003cem>The Snow Geese\u003c/em> hit Broadway. But White continues his allegiance to Bay Area stages, premiering his plays \u003cem>Annapurna\u003c/em> and \u003cem>Sunlight\u003c/em> at The Magic Theatre and Marin Theatre Company respectively in recent years. \u003cem>Sunlight\u003c/em>, White’s 2010 drama exploring terrorism and its impact on civilians, is getting a new production right now with Redwood City’s feisty Dragon Theatre Company. The group has produced a couple of the White’s works in the past. In the wake of the Paris attacks a couple of weeks ago, this drama about the turmoil that arises on a university campus over a memo from a faculty member justifying the use of torture, couldn’t be more timely.\u003c/p>\n\u003cfigure id=\"attachment_11104558\" class=\"wp-caption alignright\" style=\"max-width: 557px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104558\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\" alt=\"A scene from Ayad Akhtar’s 'Disgraced' at Berkeley Rep.\" width=\"557\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg 557w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821-400x221.jpg 400w\" sizes=\"(max-width: 557px) 100vw, 557px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Ayad Akhtar’s ‘Disgraced’ at Berkeley Rep. \u003ccite>(Photo: Liz Lauren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Disgraced\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003c/strong>\u003cbr>\nPakistani-American playwright Ayad Akhtar’s Pulitzer Prize-winning 2013 play \u003cem>Disgraced\u003c/em> takes a different look at life in our post 9/11 world. The polished Berkeley Rep production directed by Kimberly Senior (who helmed the impactful play on its journey from Chicago to London’s West West End and on to Broadway before mounting this west coast premiere) deftly captures the story of a high-powered New York lawyer’s complex relationship with his Islamic roots. Exploring the challenges of Muslim identity in the United States today, Akhtar shatters assumptions about religion and race as he keenly exposes the lies and deceit embedded deep within his protagonist’s psyche. \u003cem>Read KQED’s interview with the playwright \u003ca href=\"http://ww2.kqed.org/arts/2015/11/21/pulitzer-prize-winning-playwright-on-islamophobia-and-religious-extremism/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003ca href=\"http://www.dickensfair.com/\" target=\"_blank\" rel=\"noopener\">The Dickens Fair\u003c/a> at Cow Palace, San Francisco\u003c/strong>\u003cbr>\nChristmas Eve goes on for a full five weeks in this annual holiday favorite where Bay Area residents don hoop skirts and top hats and make believe that Cow Palace in 2015 is Merrie Olde Englande circa 1850. The event is a great place to pick up holiday gifts and pig out on cakes and ale. But it’s the theatricality of the thing that makes this fair stand out from other similar holiday pageants. If the hoards of actors wandering about dressed up as characters from Dickens novels aren’t enough to take you back to Christmas past, participating in an English country dance, watching the Stark Ravens Players’ original musical version of \u003cem>Pinocchio\u003c/em>, or — if you’re a grownup — getting your kicks at the titillating \u003cem>Dickens After Dark\u003c/em> revue, surely will.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Oakland Man, 20, Charged With Murder in Killing of Muralist",
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"content": "\u003cp>An Oakland man who police say killed Oakland muralist Antonio Ramos has been charged with murder and several counts of robbery.\u003c/p>\n\u003cp>Marquise Holloway, 20, was arraigned in Alameda County Superior Court in Oakland on Tuesday afternoon. He’s charged with Ramos’ murder, three counts of second-degree robbery and two counts of attempted second-degree robbery. The murder charge carries a special circumstance -- homicide committed during an armed robbery -- and could lead to a sentence of life without the possibility of parole.\u003c/p>\n\u003cp>While Judge Gregory Syren was reading the charges, Holloway began screaming obscenities and banging on the walls and was removed from the courtroom. Syren continued the hearing, ordered Holloway to be held without bail and set a date for him to return to court with a public defender next Monday.\u003c/p>\n\u003cp>Moments later, a group of courtroom observers who appeared to know Holloway smashed a glass case in a hallway as they exited the courthouse.\u003c/p>\n\u003cp>The shooting on the morning of Sept. 29 \u003ca href=\"http://ww2.kqed.org/arts/2015/09/30/hundreds-mourn-slain-oakland-artist-during-vigil-at-mural/\" target=\"_blank\">rocked Oakland’s arts community\u003c/a>. Ramos was working on an anti-violence mural on the Interstate 580 underpass, on West Street between 35th and 36th streets, when he was shot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland police homicide Lt. Roland Holmgren said Holloway had attempted another robbery earlier the morning of Sept. 29, when he encountered Ramos.\u003c/p>\n\u003cp>Ramos “was painting the mural and had taken a break and was taking some pictures so he could memorialize it and kind of put it up on a website,\" Holmgren said. \"So he had some of his camera equipment out there, and I believe that’s what sparked the whole incident.”\u003c/p>\n\u003cp>Holmgren says the release of a \u003ca href=\"http://evilleeye.com/news-commentary/crime/person-of-interest-identified-in-emeryville-mans-murder/\" target=\"_blank\">video and still photo\u003c/a> of Holloway last month brought in numerous tips that helped lead to the arrest.\u003c/p>\n\u003cp>“When we released the video and the photo to the media and it was provided to the community, we had almost instantaneous calling into our tip lines,” said Holmgren, who added that information from the public helped lead them to Holloway's mother house in Stockton., where he was arrested last week.\u003c/p>\n\u003cp>”That’s the type of partnership that we need. When it’s on, it’s on, and we can be effective together,” Holmgren added.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.sfgate.com/crime/article/Accused-killer-of-muralist-in-Oakland-to-appear-6654754.php\" target=\"_blank\">San Francisco Chronicle, \u003c/a>a handgun was recovered at the time of Holloway's arrest, and ballistics tests confirmed it was the weapon used in the shooting of Ramos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe class=\"scribd_iframe_embed\" src=\"https://www.scribd.com/embeds/291048484/content?start_page=1&view_mode=scroll&show_recommendations=true\" data-auto-height=\"false\" data-aspect-ratio=\"undefined\" scrolling=\"no\" id=\"doc_66330\" width=\"100%\" height=\"600\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "If found guilty, suspect could face sentence of life in prison without the possibility of parole. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An Oakland man who police say killed Oakland muralist Antonio Ramos has been charged with murder and several counts of robbery.\u003c/p>\n\u003cp>Marquise Holloway, 20, was arraigned in Alameda County Superior Court in Oakland on Tuesday afternoon. He’s charged with Ramos’ murder, three counts of second-degree robbery and two counts of attempted second-degree robbery. The murder charge carries a special circumstance -- homicide committed during an armed robbery -- and could lead to a sentence of life without the possibility of parole.\u003c/p>\n\u003cp>While Judge Gregory Syren was reading the charges, Holloway began screaming obscenities and banging on the walls and was removed from the courtroom. Syren continued the hearing, ordered Holloway to be held without bail and set a date for him to return to court with a public defender next Monday.\u003c/p>\n\u003cp>Moments later, a group of courtroom observers who appeared to know Holloway smashed a glass case in a hallway as they exited the courthouse.\u003c/p>\n\u003cp>The shooting on the morning of Sept. 29 \u003ca href=\"http://ww2.kqed.org/arts/2015/09/30/hundreds-mourn-slain-oakland-artist-during-vigil-at-mural/\" target=\"_blank\">rocked Oakland’s arts community\u003c/a>. Ramos was working on an anti-violence mural on the Interstate 580 underpass, on West Street between 35th and 36th streets, when he was shot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland police homicide Lt. Roland Holmgren said Holloway had attempted another robbery earlier the morning of Sept. 29, when he encountered Ramos.\u003c/p>\n\u003cp>Ramos “was painting the mural and had taken a break and was taking some pictures so he could memorialize it and kind of put it up on a website,\" Holmgren said. \"So he had some of his camera equipment out there, and I believe that’s what sparked the whole incident.”\u003c/p>\n\u003cp>Holmgren says the release of a \u003ca href=\"http://evilleeye.com/news-commentary/crime/person-of-interest-identified-in-emeryville-mans-murder/\" target=\"_blank\">video and still photo\u003c/a> of Holloway last month brought in numerous tips that helped lead to the arrest.\u003c/p>\n\u003cp>“When we released the video and the photo to the media and it was provided to the community, we had almost instantaneous calling into our tip lines,” said Holmgren, who added that information from the public helped lead them to Holloway's mother house in Stockton., where he was arrested last week.\u003c/p>\n\u003cp>”That’s the type of partnership that we need. When it’s on, it’s on, and we can be effective together,” Holmgren added.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.sfgate.com/crime/article/Accused-killer-of-muralist-in-Oakland-to-appear-6654754.php\" target=\"_blank\">San Francisco Chronicle, \u003c/a>a handgun was recovered at the time of Holloway's arrest, and ballistics tests confirmed it was the weapon used in the shooting of Ramos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe class=\"scribd_iframe_embed\" src=\"https://www.scribd.com/embeds/291048484/content?start_page=1&view_mode=scroll&show_recommendations=true\" data-auto-height=\"false\" data-aspect-ratio=\"undefined\" scrolling=\"no\" id=\"doc_66330\" width=\"100%\" height=\"600\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Smog-Infused Meringues and Tacos Tell the Truth about the Air We Eat",
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"content": "\u003cp>Around a hundred people entered the upstairs reception hall at the \u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener\">Headlands Center for the Arts\u003c/a> in Marin for cocktail hour last Thursday. A line started early at the bar. Everyone was eager to taste the specialty cocktails made for the occasion.\u003c/p>\n\u003cp>Vigorously shaking their concoctions, the bartenders draped freshly cut lace lichen in one drink, the pale green filaments undulating like seaweed in the bitters. They finished a second, sweeter one with a lemon verbena foam and fog-harvested water. Three flavors of popcorn were served up in movie-style brown paper bags: cultured dairy butter, fir tree, and sloppy joe military MREs (Meals Ready to Eat).\u003c/p>\n\u003cp>Despite all appearances to the contrary, this wasn’t an awards dinner for Bay Area locavores. \u003ci>Aeroir: A Taste of Place,\u003c/i> as the event was dubbed, is part of the Headland Center’s ongoing programming around “a creative interpretation of place.” The happenings typically include talks by artists in residence and shared meals. Conceived of by a trio of confident, purposeful artists, \u003cem>Aeroir\u003c/em> turned out to be a peculiar and disorienting amalgamation of taste and place, capped by an eccentric culinary performance art gesture aimed at raising environmental awareness.\u003c/p>\n\u003cfigure id=\"attachment_11098803\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/cocktails.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098803 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/cocktails-800x600.jpg\" alt=\"Cocktail with lace lichen (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cocktail with lace lichen (Photo: Tina Salter/KQED). \u003ccite>(Tina Salter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the five-course meal, the organizers distributed several pamphlets and menus and repeated verbal instructions throughout the night to help the audience understand what \u003cem>Aeroir\u003c/em> was about. “A Word on \u003ci>Aeroir,\u003c/i>” the main program’s two-page preface, explained most succinctly how the intangible qualities of air and sky could be ingested and even appreciated by the human palate: “The act of consuming air through our digestive apparatus, rather than passively inhaling it through our respiratory system.”\u003c/p>\n\u003cfigure id=\"attachment_11098801\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098801 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg\" alt=\"The Smog Synthesizer (Photo: Jeffrey Edalatpour/KQED).\" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Smog-Cart-400x300.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Smog Synthesizer (Photo: Jeffrey Edalatpour/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>The waitstaff served up salt-baked beef, mung bean cakes, and bowls of mud-red cabbage soup with lemon foam and a soy-marbled egg to add flavor and pizzazz. But the main ingredient on the menu that night isn’t generally to be found in fancy restaurants, but rather in the air we breathe: smog.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nicola Twilley, a food writer who takes an adventurous, exploratory approach to the subject on her \u003ca href=\"http://gastropod.com/\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> and in her blog \u003ca href=\"http://www.ediblegeography.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Edible Geography\u003c/em>\u003c/a>, presided over the event, together with Gabriel Harp and Zack Denfeld of \u003ca href=\"http://genomicgastronomy.com/\" target=\"_blank\" rel=\"noopener\">The Center for Genomic Gastronomy\u003c/a> and \u003ca href=\"http://www.coclimate.com/\" target=\"_blank\" rel=\"noopener\">CoClimate\u003c/a>. Twilley explained the concept behind infusing egg-white meringues with smog fabricated by the “smog-tasting cart” that doubled as her podium.\u003c/p>\n\u003cp>They found their inspiration in Harold McGee’s book of culinary chemistry \u003cem>On Food and Cooking\u003c/em>. McGee, who was also in attendance at \u003cem>Aeroir\u003c/em>, wrote that “an egg foam is 90-percent air.” With that in mind, The Center for Genomic Gastronomy fabricated the cart as a small scale smog chamber. It creates a mixture of different pollutants that react together, resulting in the formation of smog. Each city, region and country has a specific \u003cem>Aeroir\u003c/em>, or combination of potentially harmful elements, such as hydrocarbons, soot or sulfur. Think \u003cem>terroir\u003c/em> except up above terra firma. The “structural properties of meringue batter” (all that air) easily absorb those rotten chemicals and act as the perfect vehicle to assist their studies and assault the taste buds.\u003c/p>\n\u003cfigure id=\"attachment_11098799\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Trio.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098799 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Trio-800x600.jpg\" alt=\"L. to r.: Nicola Twilley, Gabriel Harp, Zack Denfeld, Harold McGee (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L. to r.: Nicola Twilley, Gabriel Harp, Zack Denfeld, Harold McGee (Photo: Tina Salter/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Later, as Twilley carried a portable smog machine to “season” our unsalted tacos with the polluted contaminates found in Mexico City’s air, something akin to unease dawned on the downcast faces of the diners. When bugs showed up in the course described as “The Secret Life of Dust,” the conceptual aspect of \u003ci>Aeroir\u003c/i> was suddenly made a little too real.\u003c/p>\n\u003cfigure id=\"attachment_11098800\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098800 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-800x600.jpg\" alt=\"Hors d'oeuvre: The Secret Life of Dust (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hors d’oeuvre: The Secret Life of Dust (Photo: Tina Salter/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>The point — gathered quickly — was that our sense of taste is affected by our immediate atmosphere, by the air and its varietals, otherwise known as contaminants. \u003ci>Aeroir\u003c/i> turned out to be a smog taste test. But were the mouths of the guests sensitive enough to distinguish the different qualities of the air pumped into those meringues? Mine certainly was: the sooty taste of Beijing’s sky was like swallowing a pocket of grit and ash in comparison with the limpid quality in the air of California’s Central Valley. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While \u003cem>Aeroir\u003c/em> made an emphatic, unequivocal point about our poisoned, polluted skies, swallowing morsels of it, despite an agreed upon health risk waiver, excited a blistering headache and a bout of nausea in at least one guest. This must have been how Persephone felt in Hades after eating those forbidden seeds, regretful of the curiosity and greedy appetite which led to breathing in such dark oxygen.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Around a hundred people entered the upstairs reception hall at the \u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener\">Headlands Center for the Arts\u003c/a> in Marin for cocktail hour last Thursday. A line started early at the bar. Everyone was eager to taste the specialty cocktails made for the occasion.\u003c/p>\n\u003cp>Vigorously shaking their concoctions, the bartenders draped freshly cut lace lichen in one drink, the pale green filaments undulating like seaweed in the bitters. They finished a second, sweeter one with a lemon verbena foam and fog-harvested water. Three flavors of popcorn were served up in movie-style brown paper bags: cultured dairy butter, fir tree, and sloppy joe military MREs (Meals Ready to Eat).\u003c/p>\n\u003cp>Despite all appearances to the contrary, this wasn’t an awards dinner for Bay Area locavores. \u003ci>Aeroir: A Taste of Place,\u003c/i> as the event was dubbed, is part of the Headland Center’s ongoing programming around “a creative interpretation of place.” The happenings typically include talks by artists in residence and shared meals. Conceived of by a trio of confident, purposeful artists, \u003cem>Aeroir\u003c/em> turned out to be a peculiar and disorienting amalgamation of taste and place, capped by an eccentric culinary performance art gesture aimed at raising environmental awareness.\u003c/p>\n\u003cfigure id=\"attachment_11098803\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/cocktails.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098803 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/cocktails-800x600.jpg\" alt=\"Cocktail with lace lichen (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cocktail with lace lichen (Photo: Tina Salter/KQED). \u003ccite>(Tina Salter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the five-course meal, the organizers distributed several pamphlets and menus and repeated verbal instructions throughout the night to help the audience understand what \u003cem>Aeroir\u003c/em> was about. “A Word on \u003ci>Aeroir,\u003c/i>” the main program’s two-page preface, explained most succinctly how the intangible qualities of air and sky could be ingested and even appreciated by the human palate: “The act of consuming air through our digestive apparatus, rather than passively inhaling it through our respiratory system.”\u003c/p>\n\u003cfigure id=\"attachment_11098801\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098801 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg\" alt=\"The Smog Synthesizer (Photo: Jeffrey Edalatpour/KQED).\" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Smog-Cart-400x300.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Smog Synthesizer (Photo: Jeffrey Edalatpour/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>The waitstaff served up salt-baked beef, mung bean cakes, and bowls of mud-red cabbage soup with lemon foam and a soy-marbled egg to add flavor and pizzazz. But the main ingredient on the menu that night isn’t generally to be found in fancy restaurants, but rather in the air we breathe: smog.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nicola Twilley, a food writer who takes an adventurous, exploratory approach to the subject on her \u003ca href=\"http://gastropod.com/\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> and in her blog \u003ca href=\"http://www.ediblegeography.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Edible Geography\u003c/em>\u003c/a>, presided over the event, together with Gabriel Harp and Zack Denfeld of \u003ca href=\"http://genomicgastronomy.com/\" target=\"_blank\" rel=\"noopener\">The Center for Genomic Gastronomy\u003c/a> and \u003ca href=\"http://www.coclimate.com/\" target=\"_blank\" rel=\"noopener\">CoClimate\u003c/a>. Twilley explained the concept behind infusing egg-white meringues with smog fabricated by the “smog-tasting cart” that doubled as her podium.\u003c/p>\n\u003cp>They found their inspiration in Harold McGee’s book of culinary chemistry \u003cem>On Food and Cooking\u003c/em>. McGee, who was also in attendance at \u003cem>Aeroir\u003c/em>, wrote that “an egg foam is 90-percent air.” With that in mind, The Center for Genomic Gastronomy fabricated the cart as a small scale smog chamber. It creates a mixture of different pollutants that react together, resulting in the formation of smog. Each city, region and country has a specific \u003cem>Aeroir\u003c/em>, or combination of potentially harmful elements, such as hydrocarbons, soot or sulfur. Think \u003cem>terroir\u003c/em> except up above terra firma. The “structural properties of meringue batter” (all that air) easily absorb those rotten chemicals and act as the perfect vehicle to assist their studies and assault the taste buds.\u003c/p>\n\u003cfigure id=\"attachment_11098799\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Trio.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098799 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Trio-800x600.jpg\" alt=\"L. to r.: Nicola Twilley, Gabriel Harp, Zack Denfeld, Harold McGee (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L. to r.: Nicola Twilley, Gabriel Harp, Zack Denfeld, Harold McGee (Photo: Tina Salter/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Later, as Twilley carried a portable smog machine to “season” our unsalted tacos with the polluted contaminates found in Mexico City’s air, something akin to unease dawned on the downcast faces of the diners. When bugs showed up in the course described as “The Secret Life of Dust,” the conceptual aspect of \u003ci>Aeroir\u003c/i> was suddenly made a little too real.\u003c/p>\n\u003cfigure id=\"attachment_11098800\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098800 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-800x600.jpg\" alt=\"Hors d'oeuvre: The Secret Life of Dust (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hors d’oeuvre: The Secret Life of Dust (Photo: Tina Salter/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>The point — gathered quickly — was that our sense of taste is affected by our immediate atmosphere, by the air and its varietals, otherwise known as contaminants. \u003ci>Aeroir\u003c/i> turned out to be a smog taste test. But were the mouths of the guests sensitive enough to distinguish the different qualities of the air pumped into those meringues? Mine certainly was: the sooty taste of Beijing’s sky was like swallowing a pocket of grit and ash in comparison with the limpid quality in the air of California’s Central Valley. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While \u003cem>Aeroir\u003c/em> made an emphatic, unequivocal point about our poisoned, polluted skies, swallowing morsels of it, despite an agreed upon health risk waiver, excited a blistering headache and a bout of nausea in at least one guest. This must have been how Persephone felt in Hades after eating those forbidden seeds, regretful of the curiosity and greedy appetite which led to breathing in such dark oxygen.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "One Direction Wins Big at AMAs, Dion Pays Tribute to Paris Victims",
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"content": "\u003cp>One Direction might have debuted at No. 2 on the Billboard charts behind Justin Bieber, but they won the top award at Sunday’s American Music Awards.\u003c/p>\n\u003cp>“This is a testament to how incredible our fans are,” Louis Tomlinson said onstage at the Microsoft Theater in Los Angeles.\u003c/p>\n\u003cp>“We just want to thank everyone that’s helped us in the last five years,” Liam Payne added.\u003c/p>\n\u003cp>The band won the top award at last year’s show — as a quintet with Zayn Malik. They also won favorite duo or group — pop/rock Sunday night.\u003c/p>\n\u003cp>Bieber, who won best collaboration with Diplo and Skrillex, closed the night with a medley of his hits, including “Sorry,” ”Where Are U Now” and “What Do You Mean.” Purple laser lights beamed from the stage as the singer danced and sang for the loud audience. He ended it drenched after standing under a waterfall.\u003c/p>\n\u003cfigure id=\"attachment_11103276\" class=\"wp-caption alignright\" style=\"max-width: 517px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg\" alt=\"Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for 'Where Are U Now' onstage during the 2015 American Music Awards at Microsoft Theater \" width=\"517\" height=\"600\" class=\"size-medium wp-image-11103276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg 620w\" sizes=\"(max-width: 517px) 100vw, 517px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for ‘Where Are U Now’ onstage during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billboard announced Sunday his new album, \u003cem>Purpose\u003c/em>, will debut at No. 1 on its charts Monday after selling 649,000 equivalent albums. It beat out One Direction’s “Made In the A.M.,” which sold 459,000 equivalent albums.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bieber’s performance wasn’t the only well-received one: Celine Dion paid tribute to the victims of the recent Paris attacks by singing Edith Piaf’s “Hymne à L’Amour” in French as some audience members cried.\u003c/p>\n\u003cp>Jared Leto, who introduced Dion, said his band 30 Seconds to Mars recently performed at the Bataclan, the Paris concert hall where 89 people were killed in the Nov. 13 attack.\u003c/p>\n\u003cp>Dion earned a rousing applause after her performance, which started with the Eiffel Tower projected behind her.\u003c/p>\n\u003cp>The Weeknd’s performance was also a favorite, and he walked away with two awards, and presented the first one from Prince.\u003c/p>\n\u003cp>“Make some noise for Prince, ladies and gentlemen,” the singer said after picking up favorite album — soul/R&B for \u003cem>Beauty Behind the Madness.\u003c/em>\u003c/p>\n\u003cp>Nicki Minaj was also a double winner, taking home favorite artist and album — rap/hip-hop. She encouraged her feverish fans to “find their voice.”\u003c/p>\n\u003cp>“I want to just thank you, the fans, for allowing me to change and have a different voice every time I come back out (with a new album),” Minaj said. “And please find your voice and find your purpose before it’s too late. Love you.”\u003c/p>\n\u003cp>Other girls at the awards show encouraged their peers: Zendaya and Hailee Steinfeld danced excited as Selena Gomez performed onstage; Fifth Harmony and Rebel Wilson sang as Demi Lovato was in strong form with “Confident”; and Gomez sang as Grande performed “Focus” in a shimmery number.\u003c/p>\n\u003cp>Meghan Trainor and Charlie Puth’s performance got additional attention after the singers made out onstage after singing their song, “Marvin Gaye,” which features the lyrics: “Let’s Marvin Gaye and get it on.”\u003c/p>\n\u003cfigure id=\"attachment_11103277\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg\" alt=\"Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \" width=\"450\" height=\"600\" class=\"size-medium wp-image-11103277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg 650w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Jason Merritt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m still laughing at Charlie and Meghan smooching,” Bryan said onstage after winning favorite male artist — country.\u003c/p>\n\u003cp>Bryan beat out Jason Aldean and Sam Hunt, who won new artist of the year.\u003c/p>\n\u003cp>Host Jennifer Lopez kicked off the AMAs in a dance routine that highlighted some of the year’s biggest hits like “Where Are U Now,” ”Anaconda,” ”Uptown Funk!” and “Hotline Bling.” She also impressively sang in almost a cappella form.\u003c/p>\n\u003cp>Taylor Swift, who is out of the country shooting a music video, was the top nominee with six. She won song of the year for “Blank Space,” favorite album — pop/rock for \u003cem>1989\u003c/em> and favorite artist — adult contemporary\u003c/p>\n\u003cp>Swift lost favorite female artist — pop/rock to Grande, who was shocked when accepting the honor.\u003c/p>\n\u003cp>“I think I owe a lot of this to my nonna who made sure to remind me that she voted. She goes, ‘Ariana, I went on the computer, I voted, so I think you’ll win,'” Grande said in an Italian accent.\u003c/p>\n\u003cp>The three-hour show, which aired on ABC, also included a clip from the upcoming \u003cem>Star Wars\u003c/em> film. Performers included Coldplay, Gwen Stefani, Alanis Morissette, 5 Seconds of Summer and Carrie Underwood, who won favorite female artist — country.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"description": "One Direction might have debuted at No. 2 on the Billboard charts behind Justin Bieber, but they won the top award at Sunday's American Music Awards. "This is a testament to how incredible our fans are," Louis Tomlinson said onstage at the Microsoft Theater in Los Angeles. "We just want to thank everyone that's helped us in the last five years," Liam Payne added. The band won the top award at last year's show — as a quintet with Zayn Malik. They also won favorite duo or group — pop/rock Sunday night. Bieber, who won best collaboration with Diplo and",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One Direction might have debuted at No. 2 on the Billboard charts behind Justin Bieber, but they won the top award at Sunday’s American Music Awards.\u003c/p>\n\u003cp>“This is a testament to how incredible our fans are,” Louis Tomlinson said onstage at the Microsoft Theater in Los Angeles.\u003c/p>\n\u003cp>“We just want to thank everyone that’s helped us in the last five years,” Liam Payne added.\u003c/p>\n\u003cp>The band won the top award at last year’s show — as a quintet with Zayn Malik. They also won favorite duo or group — pop/rock Sunday night.\u003c/p>\n\u003cp>Bieber, who won best collaboration with Diplo and Skrillex, closed the night with a medley of his hits, including “Sorry,” ”Where Are U Now” and “What Do You Mean.” Purple laser lights beamed from the stage as the singer danced and sang for the loud audience. He ended it drenched after standing under a waterfall.\u003c/p>\n\u003cfigure id=\"attachment_11103276\" class=\"wp-caption alignright\" style=\"max-width: 517px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg\" alt=\"Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for 'Where Are U Now' onstage during the 2015 American Music Awards at Microsoft Theater \" width=\"517\" height=\"600\" class=\"size-medium wp-image-11103276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg 620w\" sizes=\"(max-width: 517px) 100vw, 517px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for ‘Where Are U Now’ onstage during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billboard announced Sunday his new album, \u003cem>Purpose\u003c/em>, will debut at No. 1 on its charts Monday after selling 649,000 equivalent albums. It beat out One Direction’s “Made In the A.M.,” which sold 459,000 equivalent albums.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bieber’s performance wasn’t the only well-received one: Celine Dion paid tribute to the victims of the recent Paris attacks by singing Edith Piaf’s “Hymne à L’Amour” in French as some audience members cried.\u003c/p>\n\u003cp>Jared Leto, who introduced Dion, said his band 30 Seconds to Mars recently performed at the Bataclan, the Paris concert hall where 89 people were killed in the Nov. 13 attack.\u003c/p>\n\u003cp>Dion earned a rousing applause after her performance, which started with the Eiffel Tower projected behind her.\u003c/p>\n\u003cp>The Weeknd’s performance was also a favorite, and he walked away with two awards, and presented the first one from Prince.\u003c/p>\n\u003cp>“Make some noise for Prince, ladies and gentlemen,” the singer said after picking up favorite album — soul/R&B for \u003cem>Beauty Behind the Madness.\u003c/em>\u003c/p>\n\u003cp>Nicki Minaj was also a double winner, taking home favorite artist and album — rap/hip-hop. She encouraged her feverish fans to “find their voice.”\u003c/p>\n\u003cp>“I want to just thank you, the fans, for allowing me to change and have a different voice every time I come back out (with a new album),” Minaj said. “And please find your voice and find your purpose before it’s too late. Love you.”\u003c/p>\n\u003cp>Other girls at the awards show encouraged their peers: Zendaya and Hailee Steinfeld danced excited as Selena Gomez performed onstage; Fifth Harmony and Rebel Wilson sang as Demi Lovato was in strong form with “Confident”; and Gomez sang as Grande performed “Focus” in a shimmery number.\u003c/p>\n\u003cp>Meghan Trainor and Charlie Puth’s performance got additional attention after the singers made out onstage after singing their song, “Marvin Gaye,” which features the lyrics: “Let’s Marvin Gaye and get it on.”\u003c/p>\n\u003cfigure id=\"attachment_11103277\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg\" alt=\"Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \" width=\"450\" height=\"600\" class=\"size-medium wp-image-11103277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg 650w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Jason Merritt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m still laughing at Charlie and Meghan smooching,” Bryan said onstage after winning favorite male artist — country.\u003c/p>\n\u003cp>Bryan beat out Jason Aldean and Sam Hunt, who won new artist of the year.\u003c/p>\n\u003cp>Host Jennifer Lopez kicked off the AMAs in a dance routine that highlighted some of the year’s biggest hits like “Where Are U Now,” ”Anaconda,” ”Uptown Funk!” and “Hotline Bling.” She also impressively sang in almost a cappella form.\u003c/p>\n\u003cp>Taylor Swift, who is out of the country shooting a music video, was the top nominee with six. She won song of the year for “Blank Space,” favorite album — pop/rock for \u003cem>1989\u003c/em> and favorite artist — adult contemporary\u003c/p>\n\u003cp>Swift lost favorite female artist — pop/rock to Grande, who was shocked when accepting the honor.\u003c/p>\n\u003cp>“I think I owe a lot of this to my nonna who made sure to remind me that she voted. She goes, ‘Ariana, I went on the computer, I voted, so I think you’ll win,'” Grande said in an Italian accent.\u003c/p>\n\u003cp>The three-hour show, which aired on ABC, also included a clip from the upcoming \u003cem>Star Wars\u003c/em> film. Performers included Coldplay, Gwen Stefani, Alanis Morissette, 5 Seconds of Summer and Carrie Underwood, who won favorite female artist — country.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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