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"content": "\u003cp>The subtitle of author Kliph Nesteroff’s new book, \"The Comedians,\" tells all: \"Drunks, Thieves, Scoundrels and the History of American Comedy.\" It’s a comprehensive chronicle of the people who have made us laugh over the last century, but the often dark, desperate story is far from a chucklefest.\u003c/p>\n\u003cfigure id=\"attachment_10765967\" class=\"wp-caption alignleft\" style=\"max-width: 388px\">\u003cimg class=\"wp-image-10765967\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Comedians-cover-art-e1448053022534.jpg\" alt='\"The Comedians\" by Kliph Nesteroff' width=\"388\" height=\"586\">\u003cfigcaption class=\"wp-caption-text\">'The Comedians' by Kliph Nesteroff\u003c/figcaption>\u003c/figure>\n\u003cp>Take Joe E. Lewis, for example, once the Dane Cook of his day, now virtually forgotten. In 1927, he had his throat slit during a contract negotiation with an Al Capone associate, though he survived to joke again. Lewis was one of many nightclub comics working for the mob, a largely overlooked history and a big part of author Kliph Nesteroff’s book, which spans the laugh business from vaudeville to podcasting.\u003c/p>\n\u003cp>“For some reason nobody has really talked about that in conjunction with comedians before,” says Nesteroff, “and to me that is so much more interesting than a boring singer being connected to the mob. A guy who makes fun of people for a living, his boss is a humorless Mafioso who could kill you? That dynamic to me is compelling.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/234393706\" 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>Los Angeles-based Nesteroff, who’s 35, started collecting vintage comedy albums as a teenager in British Columbia. That led to tracking down pretty much anyone he could reach involved with comedy on stage, screen, TV or radio. Meaning folks you’ve probably never heard of.\u003c/p>\n\u003cfigure id=\"attachment_10769753\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10769753\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Kliph-800x590.jpg\" alt=\"Author Kliph Nesteroff\" width=\"800\" height=\"590\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-800x590.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-400x295.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-1440x1063.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-1180x871.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-960x709.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Kliph Nesteroff \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was all this insight,” he explains. “These guys were obscure and their careers were nothing, but they had insight into the people we did know. And that really built an incredible story I was able to work from.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2006, Nesteroff began sharing his stories on the website of New Jersey free-form station WFMU. He developed an appreciative cult following that included Steve Martin, Mel Brooks and Marc Maron.\u003c/p>\n\u003cp>“I think the first piece I read was about Shecky Green,” Maron says. “I was so amazed and engrossed with the way he captured show business, 'cause I have that thing in my head. I’m attracted to the dark crevices and the seediness and this sort of chaos of the personalities, and that piece he wrote on Shecky just blew my mind.”\u003c/p>\n\u003cp>Maron was impressed enough to interview Nesteroff on his \u003ca href=\"http://www.wtfpod.com/podcast/episodes/episode_314_-_kliph_nesteroff\" target=\"_blank\">\"WTF\" podcast\u003c/a>, which helped land the book deal and a Page One dedication.\u003c/p>\n\u003cfigure id=\"attachment_10770580\" class=\"wp-caption alignleft\" style=\"max-width: 386px\">\u003cimg class=\" wp-image-10770580\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Maron-800x862.jpg\" alt=\"Comedian Marc Maron\" width=\"386\" height=\"415\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-800x862.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-400x431.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-1440x1552.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-1180x1272.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-960x1035.jpg 960w\" sizes=\"(max-width: 386px) 100vw, 386px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Marc Maron \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He just has this amazing eye for lurid but compelling tales that don’t necessarily diminish people, but you sort of feel, well, of course these guys were like that,” says Maron.\u003c/p>\n\u003cp>For every Richard Pryor, Jonathan Winters and Joan Rivers in the book, Nesteroff covers unfamiliar names like B.S. Pully, Slick Slavin and Frankie Ray Pirelli. But the author knows what it’s like to get onstage as an unknown. Before focusing on writing, Nesteroff worked comedy clubs in Canada for eight years.\u003c/p>\n\u003cp>“The fact that Kliph was a standup, I think was indispensable in the writing of this book because it gives you a perspective that you can only have once you’ve done it,” says veteran standup and former \"Simpsons\" writer Dana Gould, who’s quoted in \"The Comedians\" as a pillar of the early ‘90s alt-comedy scene.\u003c/p>\n\u003cp>“Standup comedy is like sex,” Gould continues. “The only way to learn how to do it is to actually do it. And then once you’ve done it, you’re full of shame.”\u003c/p>\n\u003cfigure id=\"attachment_10765978\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10765978 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/dana-1-comedy-800x600.jpg\" alt=\"Comedian Dana Gould and his cat Ella.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Comedian Dana Gould and his cat, Ella. (Peter Gilstrap)\u003c/figcaption>\u003c/figure>\n\u003cp>To borrow from Rodney Dangerfield, it’s all about respect.\u003c/p>\n\u003cp>“Because it’s comedy, it is innately not as well respected,” says Gould. “Ken Burns can do the history of jazz and it’s like the Parthenon, but comedy’s like, we don’t need to deal with that, it’s just comedy.”\u003c/p>\n\u003cp>But still, it’s important stuff.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s part of our popular culture,” says film critic and historian Leonard Maltin. “No less than movies or books or artwork of any kind. What Kliph has done is to take something that no one else has bothered to chronicle or to take seriously. I think he nailed it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The subtitle of author Kliph Nesteroff’s new book, \"The Comedians,\" tells all: \"Drunks, Thieves, Scoundrels and the History of American Comedy.\" It’s a comprehensive chronicle of the people who have made us laugh over the last century, but the often dark, desperate story is far from a chucklefest.\u003c/p>\n\u003cfigure id=\"attachment_10765967\" class=\"wp-caption alignleft\" style=\"max-width: 388px\">\u003cimg class=\"wp-image-10765967\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Comedians-cover-art-e1448053022534.jpg\" alt='\"The Comedians\" by Kliph Nesteroff' width=\"388\" height=\"586\">\u003cfigcaption class=\"wp-caption-text\">'The Comedians' by Kliph Nesteroff\u003c/figcaption>\u003c/figure>\n\u003cp>Take Joe E. Lewis, for example, once the Dane Cook of his day, now virtually forgotten. In 1927, he had his throat slit during a contract negotiation with an Al Capone associate, though he survived to joke again. Lewis was one of many nightclub comics working for the mob, a largely overlooked history and a big part of author Kliph Nesteroff’s book, which spans the laugh business from vaudeville to podcasting.\u003c/p>\n\u003cp>“For some reason nobody has really talked about that in conjunction with comedians before,” says Nesteroff, “and to me that is so much more interesting than a boring singer being connected to the mob. A guy who makes fun of people for a living, his boss is a humorless Mafioso who could kill you? That dynamic to me is compelling.”\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/234393706&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/234393706'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Los Angeles-based Nesteroff, who’s 35, started collecting vintage comedy albums as a teenager in British Columbia. That led to tracking down pretty much anyone he could reach involved with comedy on stage, screen, TV or radio. Meaning folks you’ve probably never heard of.\u003c/p>\n\u003cfigure id=\"attachment_10769753\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10769753\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Kliph-800x590.jpg\" alt=\"Author Kliph Nesteroff\" width=\"800\" height=\"590\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-800x590.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-400x295.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-1440x1063.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-1180x871.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-960x709.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Kliph Nesteroff \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was all this insight,” he explains. “These guys were obscure and their careers were nothing, but they had insight into the people we did know. And that really built an incredible story I was able to work from.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2006, Nesteroff began sharing his stories on the website of New Jersey free-form station WFMU. He developed an appreciative cult following that included Steve Martin, Mel Brooks and Marc Maron.\u003c/p>\n\u003cp>“I think the first piece I read was about Shecky Green,” Maron says. “I was so amazed and engrossed with the way he captured show business, 'cause I have that thing in my head. I’m attracted to the dark crevices and the seediness and this sort of chaos of the personalities, and that piece he wrote on Shecky just blew my mind.”\u003c/p>\n\u003cp>Maron was impressed enough to interview Nesteroff on his \u003ca href=\"http://www.wtfpod.com/podcast/episodes/episode_314_-_kliph_nesteroff\" target=\"_blank\">\"WTF\" podcast\u003c/a>, which helped land the book deal and a Page One dedication.\u003c/p>\n\u003cfigure id=\"attachment_10770580\" class=\"wp-caption alignleft\" style=\"max-width: 386px\">\u003cimg class=\" wp-image-10770580\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Maron-800x862.jpg\" alt=\"Comedian Marc Maron\" width=\"386\" height=\"415\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-800x862.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-400x431.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-1440x1552.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-1180x1272.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-960x1035.jpg 960w\" sizes=\"(max-width: 386px) 100vw, 386px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Marc Maron \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He just has this amazing eye for lurid but compelling tales that don’t necessarily diminish people, but you sort of feel, well, of course these guys were like that,” says Maron.\u003c/p>\n\u003cp>For every Richard Pryor, Jonathan Winters and Joan Rivers in the book, Nesteroff covers unfamiliar names like B.S. Pully, Slick Slavin and Frankie Ray Pirelli. But the author knows what it’s like to get onstage as an unknown. Before focusing on writing, Nesteroff worked comedy clubs in Canada for eight years.\u003c/p>\n\u003cp>“The fact that Kliph was a standup, I think was indispensable in the writing of this book because it gives you a perspective that you can only have once you’ve done it,” says veteran standup and former \"Simpsons\" writer Dana Gould, who’s quoted in \"The Comedians\" as a pillar of the early ‘90s alt-comedy scene.\u003c/p>\n\u003cp>“Standup comedy is like sex,” Gould continues. “The only way to learn how to do it is to actually do it. And then once you’ve done it, you’re full of shame.”\u003c/p>\n\u003cfigure id=\"attachment_10765978\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10765978 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/dana-1-comedy-800x600.jpg\" alt=\"Comedian Dana Gould and his cat Ella.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Comedian Dana Gould and his cat, Ella. (Peter Gilstrap)\u003c/figcaption>\u003c/figure>\n\u003cp>To borrow from Rodney Dangerfield, it’s all about respect.\u003c/p>\n\u003cp>“Because it’s comedy, it is innately not as well respected,” says Gould. “Ken Burns can do the history of jazz and it’s like the Parthenon, but comedy’s like, we don’t need to deal with that, it’s just comedy.”\u003c/p>\n\u003cp>But still, it’s important stuff.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s part of our popular culture,” says film critic and historian Leonard Maltin. “No less than movies or books or artwork of any kind. What Kliph has done is to take something that no one else has bothered to chronicle or to take seriously. I think he nailed it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was both the best and the worst of timing, as \u003ca href=\"http://ayadakhtar.com/\" target=\"_blank\" rel=\"noopener\">Ayad Akhtar\u003c/a>’s play \u003ca href=\"http://www.berkeleyrep.org/press/presskit-1516di.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Disgraced\u003c/em> \u003c/a>opened on Nov. 13. The world was riveted that afternoon by the attacks on Paris, and then a packed house watched this play that seemed to be about the issues behind the attacks and the world’s reaction: Islamophobia, religious extremism, cultural appropriation, intermarriage, anti-semitism, and the breakdown of dialogue across cultures\u003c/p>\n\u003cp>As the applause died down, the cast stood on stage, holding hands, with their heads bowed in silence for a long moment for the those who died in Paris.\u003c/p>\n\u003cp>KQED talked with Akhtar a few weeks ago about \u003cem>Disgraced,\u003c/em> which won a Pulitzer Prize in 2013. Akhtar is a Pakistani-American novelist (\u003cem>American Dervish\u003c/em>), playwright (\u003cem>Disgraced\u003c/em> and \u003cem>\u003ca href=\"http://www.lajollaplayhouse.org/the-who-the-what\" target=\"_blank\" rel=\"noopener\">The Who and the What\u003c/a>\u003c/em>), screenwriter and actor (\u003cem>\u003ca href=\"http://www.warwithinmovie.com/\" target=\"_blank\" rel=\"noopener\">The War Within\u003c/a>\u003c/em>), born in New York, and raised near Milwaukee, Wisconsin.\u003c/p>\n\u003cp>\u003cstrong>Tell me about Amir Kapoor, the Muslim-American and corporate attorney at the center of\u003cem> Disgraced\u003c/em>. He’s maneuvering for a partnership at a law firm in NYC. \u003c/strong>\u003c/p>\n\u003cp>He wouldn’t see himself as a Muslim, and unfortunately in a post 9/11 world, that’s not a nuance that exists. You can’t say, “I was brought up Muslim, but I’m not Muslim.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But I think that Amir sees himself as an upwardly mobile young urban professional, and I think he’s trying to partake of the old paradigm, of American renewal of the self in the new world, but he is prevented from that in the truculent cultural environment of post 9/11 America.\u003c/p>\n\u003cp>\u003cstrong>The characters in \u003cem>Disgraced\u003c/em> debate the merits of the Quran. And Amir, the lapsed Muslim, calls it “a very long hate mail letter” to humanity. What’s your opinion?\u003c/strong>\u003c/p>\n\u003cp>What Amir says in the play is what Amir says. William Faulkner once said, something like, all I do is follow my characters around and write down what they say. Everybody in the play is saying stuff. There’s a lot of people saying nice things about the Quran. I also listened to them and wrote down what they said.\u003c/p>\n\u003cp>I think any religious text worth its salt, is probably grappling with the great dualities of human nature. Both our capacity for extraordinary generosity, good and sublimity, and our capacity for great harm, evil and menace. The Quran is no exception. Neither is the Old Testament, and neither is the Bhagavad Gita. And I think Amir has latched on to some aspect of the Quran, which, yeah, there’s a lot of anger in it.\u003c/p>\n\u003cp>But I think the Islamic God, Allah, would say there’s a lot of good reasons to be angry with the state of humanity.\u003c/p>\n\u003cp>\u003cstrong>Amir describes his approach to traveling by air, where he embraces the suspicion that comes with his dark skin and Muslim name. He says he walks up to TSA agents at the airport and insists they pat him down and search his bags. You’re not Amir, but what is flying like for you?\u003c/strong>\u003c/p>\n\u003cp>My experience is not Amir’s experience. I don’t willfully challenge the unconscious racial prejudices of TSA agents. I am a pretty low key guy, usually wearing a baseball cap, and don’t seem to have any problems.\u003c/p>\n\u003cp>But most of my friends who are of Pakistani or Indian origin are regularly detained for many hours every time they pass through JFK.\u003c/p>\n\u003cp>\u003cstrong>In the play there seem to be these unbridgeable divisions between white-protestant Americans, Jewish American, African Americans, and Muslim-Americans. Is it really that hopeless?\u003c/strong>\u003c/p>\n\u003cp>I think that President Obama’s presidency has certainly brought more attention to the bugs underneath the structure of our so-called multicultural, post-racial nation. I think the recent Ta-Nehisi Coates book \u003cem>Between the World and Me\u003c/em> (about racial injustice), is a very rational, truthful depiction of American history.\u003c/p>\n\u003cp>We like to tell ourselves about how great we are, and how tolerant we are. And I think probably what defines our greatness, if we have any, is our capacity to look at ourselves with greater clarity. So I think I think it’s good that there are works like \u003cem>Disgraced\u003c/em> and the Coates book telling people that’s a lot of hooey.\u003c/p>\n\u003cp>\u003cstrong>You sound despairing.\u003c/strong>\u003c/p>\n\u003cp>The only hope for humanity, as far as I’m concerned, is self-knowledge. So I don’t know why it’s depressing to be told we have to work on ourselves. I think some people come to a work of art hoping that that it will somehow solve the tensions of the social order. I don’t think that’s the purpose of art as I see it.\u003c/p>\n\u003cp>I used to have a teacher in high school who would say, “The purpose of art is to raise questions.” And I thought “I don’t care about questions.” But as I get older, I think that’s the only thing that’s interesting. I’m not going to give the audience some redemptive story about the eternal hopefulness of our lives.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Disgraced\u003c/em> won the Pulitzer and 30 theaters are doing the show around the country. Why do you think it’s being embraced so widely?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2013/legit/news/drama-pulitzer-story-winner-tk-1200369753/\" target=\"_blank\" rel=\"noopener\">\u003cem>Variety\u003c/em> did a wonderful piece about the Pulitzer\u003c/a> after\u003cem> Disgraced\u003c/em> won, and asked, “What does a Pulitzer get you?” It’s $10,000. You’re going to blow that in three or four months. It doesn’t necessarily mean that your play is going to make any money. I guess all it means is it gets you an obituary in the \u003cem>New York Times\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>So why has the play had such an impact?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. My experience of the play is that people find themselves surprisingly engaged, moved and confused by it. And I think that its dealing with stuff that’s going on in the world today that doesn’t usually lend itself to an engaging narrative experience.\u003c/p>\n\u003cp>There’s a lot of ideas in the play, but it’s not a play of ideas. There are a lot of jokes here, and intrigue. It’s actually a melodrama-slash-thriller-slash-agitprop-slash-domestic tragedy.\u003c/p>\n\u003cp>\u003cstrong>You’re the son of doctors and grew up outside Milwaukee, Wisconsin. So how did you growing up in the mid-west shape your identity and your writing?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the case of \u003cem>Disgraced\u003c/em>, a lot of people think I’m Amir. But I’m all of those characters. The writers who affected me the most in my late childhood were the great Jewish-American writers Philip Roth and Saul Bellow, and Chaim Potok, and then later: Woody Allen, (Jerry) Seinfeld, Larry David. And those guys taught me how to think about my own work.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was both the best and the worst of timing, as \u003ca href=\"http://ayadakhtar.com/\" target=\"_blank\" rel=\"noopener\">Ayad Akhtar\u003c/a>’s play \u003ca href=\"http://www.berkeleyrep.org/press/presskit-1516di.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Disgraced\u003c/em> \u003c/a>opened on Nov. 13. The world was riveted that afternoon by the attacks on Paris, and then a packed house watched this play that seemed to be about the issues behind the attacks and the world’s reaction: Islamophobia, religious extremism, cultural appropriation, intermarriage, anti-semitism, and the breakdown of dialogue across cultures\u003c/p>\n\u003cp>As the applause died down, the cast stood on stage, holding hands, with their heads bowed in silence for a long moment for the those who died in Paris.\u003c/p>\n\u003cp>KQED talked with Akhtar a few weeks ago about \u003cem>Disgraced,\u003c/em> which won a Pulitzer Prize in 2013. Akhtar is a Pakistani-American novelist (\u003cem>American Dervish\u003c/em>), playwright (\u003cem>Disgraced\u003c/em> and \u003cem>\u003ca href=\"http://www.lajollaplayhouse.org/the-who-the-what\" target=\"_blank\" rel=\"noopener\">The Who and the What\u003c/a>\u003c/em>), screenwriter and actor (\u003cem>\u003ca href=\"http://www.warwithinmovie.com/\" target=\"_blank\" rel=\"noopener\">The War Within\u003c/a>\u003c/em>), born in New York, and raised near Milwaukee, Wisconsin.\u003c/p>\n\u003cp>\u003cstrong>Tell me about Amir Kapoor, the Muslim-American and corporate attorney at the center of\u003cem> Disgraced\u003c/em>. He’s maneuvering for a partnership at a law firm in NYC. \u003c/strong>\u003c/p>\n\u003cp>He wouldn’t see himself as a Muslim, and unfortunately in a post 9/11 world, that’s not a nuance that exists. You can’t say, “I was brought up Muslim, but I’m not Muslim.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I think that Amir sees himself as an upwardly mobile young urban professional, and I think he’s trying to partake of the old paradigm, of American renewal of the self in the new world, but he is prevented from that in the truculent cultural environment of post 9/11 America.\u003c/p>\n\u003cp>\u003cstrong>The characters in \u003cem>Disgraced\u003c/em> debate the merits of the Quran. And Amir, the lapsed Muslim, calls it “a very long hate mail letter” to humanity. What’s your opinion?\u003c/strong>\u003c/p>\n\u003cp>What Amir says in the play is what Amir says. William Faulkner once said, something like, all I do is follow my characters around and write down what they say. Everybody in the play is saying stuff. There’s a lot of people saying nice things about the Quran. I also listened to them and wrote down what they said.\u003c/p>\n\u003cp>I think any religious text worth its salt, is probably grappling with the great dualities of human nature. Both our capacity for extraordinary generosity, good and sublimity, and our capacity for great harm, evil and menace. The Quran is no exception. Neither is the Old Testament, and neither is the Bhagavad Gita. And I think Amir has latched on to some aspect of the Quran, which, yeah, there’s a lot of anger in it.\u003c/p>\n\u003cp>But I think the Islamic God, Allah, would say there’s a lot of good reasons to be angry with the state of humanity.\u003c/p>\n\u003cp>\u003cstrong>Amir describes his approach to traveling by air, where he embraces the suspicion that comes with his dark skin and Muslim name. He says he walks up to TSA agents at the airport and insists they pat him down and search his bags. You’re not Amir, but what is flying like for you?\u003c/strong>\u003c/p>\n\u003cp>My experience is not Amir’s experience. I don’t willfully challenge the unconscious racial prejudices of TSA agents. I am a pretty low key guy, usually wearing a baseball cap, and don’t seem to have any problems.\u003c/p>\n\u003cp>But most of my friends who are of Pakistani or Indian origin are regularly detained for many hours every time they pass through JFK.\u003c/p>\n\u003cp>\u003cstrong>In the play there seem to be these unbridgeable divisions between white-protestant Americans, Jewish American, African Americans, and Muslim-Americans. Is it really that hopeless?\u003c/strong>\u003c/p>\n\u003cp>I think that President Obama’s presidency has certainly brought more attention to the bugs underneath the structure of our so-called multicultural, post-racial nation. I think the recent Ta-Nehisi Coates book \u003cem>Between the World and Me\u003c/em> (about racial injustice), is a very rational, truthful depiction of American history.\u003c/p>\n\u003cp>We like to tell ourselves about how great we are, and how tolerant we are. And I think probably what defines our greatness, if we have any, is our capacity to look at ourselves with greater clarity. So I think I think it’s good that there are works like \u003cem>Disgraced\u003c/em> and the Coates book telling people that’s a lot of hooey.\u003c/p>\n\u003cp>\u003cstrong>You sound despairing.\u003c/strong>\u003c/p>\n\u003cp>The only hope for humanity, as far as I’m concerned, is self-knowledge. So I don’t know why it’s depressing to be told we have to work on ourselves. I think some people come to a work of art hoping that that it will somehow solve the tensions of the social order. I don’t think that’s the purpose of art as I see it.\u003c/p>\n\u003cp>I used to have a teacher in high school who would say, “The purpose of art is to raise questions.” And I thought “I don’t care about questions.” But as I get older, I think that’s the only thing that’s interesting. I’m not going to give the audience some redemptive story about the eternal hopefulness of our lives.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Disgraced\u003c/em> won the Pulitzer and 30 theaters are doing the show around the country. Why do you think it’s being embraced so widely?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2013/legit/news/drama-pulitzer-story-winner-tk-1200369753/\" target=\"_blank\" rel=\"noopener\">\u003cem>Variety\u003c/em> did a wonderful piece about the Pulitzer\u003c/a> after\u003cem> Disgraced\u003c/em> won, and asked, “What does a Pulitzer get you?” It’s $10,000. You’re going to blow that in three or four months. It doesn’t necessarily mean that your play is going to make any money. I guess all it means is it gets you an obituary in the \u003cem>New York Times\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>So why has the play had such an impact?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. My experience of the play is that people find themselves surprisingly engaged, moved and confused by it. And I think that its dealing with stuff that’s going on in the world today that doesn’t usually lend itself to an engaging narrative experience.\u003c/p>\n\u003cp>There’s a lot of ideas in the play, but it’s not a play of ideas. There are a lot of jokes here, and intrigue. It’s actually a melodrama-slash-thriller-slash-agitprop-slash-domestic tragedy.\u003c/p>\n\u003cp>\u003cstrong>You’re the son of doctors and grew up outside Milwaukee, Wisconsin. So how did you growing up in the mid-west shape your identity and your writing?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It comes once a year but it always deserves more attention: Nov. 20 is the annual Transgender Day of Rememberance, which was established back in 1999 to honor the memory of trans people who were the victims of violence. And though in 2015, the transgender community appears to be more visible in the media — Caitlyn Jenner, Laverne Cox, Janet Mock — the threat of injury and even death for those who are transgender or gender-nonconforming is just as bad as it has ever been. According to \u003ca href=\"http://www.thedailybeast.com/articles/2015/11/20/yes-we-still-need-a-transgender-day-of-remembrance-and-resilience.html\" target=\"_blank\" rel=\"noopener\">the Daily Beast\u003c/a>, the reported number of transgender victims of murder in 2015 has reached 21.\u003c/p>\n\u003cp>To help provide a perspective on what it’s like to be a part of the transgender community, we are re-posting a video from KQED’s ongoing series \u003ca href=\"http://ww2.kqed.org/stateofhealth/series/vital-signs/\" target=\"_blank\" rel=\"noopener\">Vital Signs\u003c/a> that follows two people — Jetta’Mae Carlisle and Jamie Nelson — as they undergo sexual re-assignment surgeries. Watch as they go through experiences that are both scary and exciting, and learn what they hope for their lives as they go forward.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It comes once a year but it always deserves more attention: Nov. 20 is the annual Transgender Day of Rememberance, which was established back in 1999 to honor the memory of trans people who were the victims of violence. And though in 2015, the transgender community appears to be more visible in the media — Caitlyn Jenner, Laverne Cox, Janet Mock — the threat of injury and even death for those who are transgender or gender-nonconforming is just as bad as it has ever been. According to \u003ca href=\"http://www.thedailybeast.com/articles/2015/11/20/yes-we-still-need-a-transgender-day-of-remembrance-and-resilience.html\" target=\"_blank\" rel=\"noopener\">the Daily Beast\u003c/a>, the reported number of transgender victims of murder in 2015 has reached 21.\u003c/p>\n\u003cp>To help provide a perspective on what it’s like to be a part of the transgender community, we are re-posting a video from KQED’s ongoing series \u003ca href=\"http://ww2.kqed.org/stateofhealth/series/vital-signs/\" target=\"_blank\" rel=\"noopener\">Vital Signs\u003c/a> that follows two people — Jetta’Mae Carlisle and Jamie Nelson — as they undergo sexual re-assignment surgeries. Watch as they go through experiences that are both scary and exciting, and learn what they hope for their lives as they go forward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/233965145″ 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>Talk to Assistant Professor Ann Murphy about the dance program at \u003ca href=\"http://www.mills.edu/\" target=\"_blank\" rel=\"noopener\">Mills College in Oakland\u003c/a>, and you get both a history lesson and a sense of why the art form matters so much at this small school for people who identify as women.\u003c/p>\n\u003cp>“It’s an emancipatory art form,” Murphy says, adding that dance is part of the DNA of a college where people who are denied a voice can speak.\u003c/p>\n\u003cp>“We had a student from Iran a year ago,” Murphy says. “She was arrested for dancing in Iran. She came here and found a home for herself. She was able to teach Persian folk dance, and able to elaborate on her own idiom.”\u003c/p>\n\u003cfigure id=\"attachment_11094602\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills-Dance-program.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills-Dance-program-1180x885.jpg\" alt=\"Dance Department Chair Sheldon Smith leading a class at Mills\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dance Department Chair Sheldon Smith leading a class at Mills \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mills is currently grappling with budget problems. A month ago, the college’s president proposed cuts to some programs, including the end of the dance major in the country’s oldest dance department.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Book Arts would go too, as would some language classes.\u003c/p>\n\u003cp>The administration is advertising the changes as a way to make the curriculum a better fit for students in the 21st century.\u003c/p>\n\u003cp>But many members of the Mills community are unhappy with the proposed developments. Students and faculty have been staging rallies and actions over the past few weeks, claiming the proposed cuts put Mills’ unique identity at risk.\u003c/p>\n\u003cp>Mills student Bhumi Patel is worried that if the dance major is cut, she won’t have anyone to choreograph for.\u003c/p>\n\u003cp>“We constantly talk about ‘where are the women choreographers,’” Patel says. “Where are the women artistic directors. Because we don’t see them. And places like Mills College send these young people out into the world to take on these leadership positions.”\u003c/p>\n\u003cp>You can find the same kind of passion and thoughtful arguments for saving arts programs from students in Book Arts.\u003c/p>\n\u003cp>Students Grace Forrest and Selena Matranga made miniature books — broadsides really — to hand out at a recent protest against the proposed cuts. Inside, the books read: “Not a neo-liberal business school” — a reference to the administration’s proposal to add a new data science program and a masters in economics.\u003c/p>\n\u003cfigure id=\"attachment_11094598\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/002.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/002-1180x885.jpg\" alt=\"Book Arts minors Selena Matranga and Grace Forrest, and Book Arts Professor Kathleen Walkup\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Book Arts minors Selena Matranga and Grace Forrest, and Book Arts Professor Kathleen Walkup \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matranga looked around at the old-fashioned print shop, with a letter press and drawers full of type fonts. She says Book Arts is a 21st century art form.\u003c/p>\n\u003cp>“It’s a historical grounding for all technology,” Matranga says. “How are you supposed to understand where you are now without considering the past.”\u003c/p>\n\u003cp>“What we’re being taught here is how to put ourselves out into the world,” Forrest says. “And that’s what Mills wants to do. They want to create passionate people who are engaged in society. And everything that happens in these classrooms is about that.”\u003c/p>\n\u003cp>Mills College \u003ca href=\"http://www.mills.edu/newpresident/biography.php\" target=\"_blank\" rel=\"noopener\">President Alecia DeCoudreaux s\u003c/a>ays she hears the critics. “We have gotten a lot of feedback, I would say most of it opposition,” DeCoudreaux says.\u003c/p>\n\u003cfigure id=\"attachment_11094604\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094604\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-1180x805.jpg\" alt=\"Mills President Alecia DeCoudreaux\" width=\"640\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-1920x1310.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-960x655.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mills President Alecia DeCoudreaux \u003ccite>(Courtesy Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DeCoudreaux emphasizes that the potential changes are still very much at the proposal stage. But the bond credit rating agency, Moody’s, downgraded the college’s credit rating two years ago, and DeCoudreaux says Mills has to reverse declines in enrollment and tuition income. This means some programs, like Book Arts, are at risk.\u003c/p>\n\u003cp>“Looking across the board at enrollment data, the contribution margins of the various programs, the Book Arts is one that causes us to have questions about its viability going forward,” DeCoudreaux says.\u003c/p>\n\u003cp>DeCoudreaux came to Mills in 2011 following a career in law and business. She says the school is taking too much out of its endowment to cover an annual deficit of about $3 million a year out of a budget of about $81 million.\u003c/p>\n\u003cp>“It’s work that we know we have to complete,”DeCoudreaux says. “There’s not a day that goes by that we’re not looking at what’s going on in other institutions.”\u003c/p>\n\u003cp>The economic turmoil at Mills isn’t too far away from the \u003ca href=\"http://www.nytimes.com/2015/06/24/us/sweet-briar-collegeis-saved-but-not-in-the-clear.html?_r=0\" target=\"_blank\" rel=\"noopener\">financial chaos that caused the near closure of Sweet Briar\u003c/a> a few months ago — another small woman’s college, based in Virginia. DeCoudreaux says Mills is looking at many ways to generate revenue, including hosting more weddings and leasing a parcel of the college for development.\u003c/p>\n\u003cp>DeCoudreaux says the school should expand its business offerings, as they’re popular with students, and that this can be done without endangering its mission.\u003c/p>\n\u003cp>“We’re not looking at one thing instead of the other,” DeCoudreaux says. “We’re very mindful of our mission. And our goals really are to strengthen it for the long term future of the college.”\u003c/p>\n\u003cfigure id=\"attachment_11094599\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094599\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/011-1180x885.jpg\" alt=\"Bula Maddison, a visiting assistant professor at MiIls College\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bula Maddison, a visiting assistant professor at MiIls College \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the midst of the protests, the college is also negotiating a new contract with adjunct faculty, who unionized last year.\u003c/p>\n\u003cp>The proposed cuts have motivated the Book Arts and Dance programs to look at how they can attract more students to generate more income, perhaps through offering new sessions in January and summer classes.\u003c/p>\n\u003cp>But dance professor Ann Murphy warns that the arts won’t survive if all that matters is the bottom line.\u003c/p>\n\u003cp>“It’s a problem if there’s a philosophical position that the arts are expendable and that the arts have to pay their own way,” Murphy says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mills College administrators have asked students and faculty to submit their best ideas for the future of their departments by December 1.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/233965145″&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/233965145″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Talk to Assistant Professor Ann Murphy about the dance program at \u003ca href=\"http://www.mills.edu/\" target=\"_blank\" rel=\"noopener\">Mills College in Oakland\u003c/a>, and you get both a history lesson and a sense of why the art form matters so much at this small school for people who identify as women.\u003c/p>\n\u003cp>“It’s an emancipatory art form,” Murphy says, adding that dance is part of the DNA of a college where people who are denied a voice can speak.\u003c/p>\n\u003cp>“We had a student from Iran a year ago,” Murphy says. “She was arrested for dancing in Iran. She came here and found a home for herself. She was able to teach Persian folk dance, and able to elaborate on her own idiom.”\u003c/p>\n\u003cfigure id=\"attachment_11094602\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills-Dance-program.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills-Dance-program-1180x885.jpg\" alt=\"Dance Department Chair Sheldon Smith leading a class at Mills\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dance Department Chair Sheldon Smith leading a class at Mills \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mills is currently grappling with budget problems. A month ago, the college’s president proposed cuts to some programs, including the end of the dance major in the country’s oldest dance department.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Book Arts would go too, as would some language classes.\u003c/p>\n\u003cp>The administration is advertising the changes as a way to make the curriculum a better fit for students in the 21st century.\u003c/p>\n\u003cp>But many members of the Mills community are unhappy with the proposed developments. Students and faculty have been staging rallies and actions over the past few weeks, claiming the proposed cuts put Mills’ unique identity at risk.\u003c/p>\n\u003cp>Mills student Bhumi Patel is worried that if the dance major is cut, she won’t have anyone to choreograph for.\u003c/p>\n\u003cp>“We constantly talk about ‘where are the women choreographers,’” Patel says. “Where are the women artistic directors. Because we don’t see them. And places like Mills College send these young people out into the world to take on these leadership positions.”\u003c/p>\n\u003cp>You can find the same kind of passion and thoughtful arguments for saving arts programs from students in Book Arts.\u003c/p>\n\u003cp>Students Grace Forrest and Selena Matranga made miniature books — broadsides really — to hand out at a recent protest against the proposed cuts. Inside, the books read: “Not a neo-liberal business school” — a reference to the administration’s proposal to add a new data science program and a masters in economics.\u003c/p>\n\u003cfigure id=\"attachment_11094598\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/002.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/002-1180x885.jpg\" alt=\"Book Arts minors Selena Matranga and Grace Forrest, and Book Arts Professor Kathleen Walkup\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Book Arts minors Selena Matranga and Grace Forrest, and Book Arts Professor Kathleen Walkup \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matranga looked around at the old-fashioned print shop, with a letter press and drawers full of type fonts. She says Book Arts is a 21st century art form.\u003c/p>\n\u003cp>“It’s a historical grounding for all technology,” Matranga says. “How are you supposed to understand where you are now without considering the past.”\u003c/p>\n\u003cp>“What we’re being taught here is how to put ourselves out into the world,” Forrest says. “And that’s what Mills wants to do. They want to create passionate people who are engaged in society. And everything that happens in these classrooms is about that.”\u003c/p>\n\u003cp>Mills College \u003ca href=\"http://www.mills.edu/newpresident/biography.php\" target=\"_blank\" rel=\"noopener\">President Alecia DeCoudreaux s\u003c/a>ays she hears the critics. “We have gotten a lot of feedback, I would say most of it opposition,” DeCoudreaux says.\u003c/p>\n\u003cfigure id=\"attachment_11094604\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094604\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-1180x805.jpg\" alt=\"Mills President Alecia DeCoudreaux\" width=\"640\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-1920x1310.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-960x655.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mills President Alecia DeCoudreaux \u003ccite>(Courtesy Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DeCoudreaux emphasizes that the potential changes are still very much at the proposal stage. But the bond credit rating agency, Moody’s, downgraded the college’s credit rating two years ago, and DeCoudreaux says Mills has to reverse declines in enrollment and tuition income. This means some programs, like Book Arts, are at risk.\u003c/p>\n\u003cp>“Looking across the board at enrollment data, the contribution margins of the various programs, the Book Arts is one that causes us to have questions about its viability going forward,” DeCoudreaux says.\u003c/p>\n\u003cp>DeCoudreaux came to Mills in 2011 following a career in law and business. She says the school is taking too much out of its endowment to cover an annual deficit of about $3 million a year out of a budget of about $81 million.\u003c/p>\n\u003cp>“It’s work that we know we have to complete,”DeCoudreaux says. “There’s not a day that goes by that we’re not looking at what’s going on in other institutions.”\u003c/p>\n\u003cp>The economic turmoil at Mills isn’t too far away from the \u003ca href=\"http://www.nytimes.com/2015/06/24/us/sweet-briar-collegeis-saved-but-not-in-the-clear.html?_r=0\" target=\"_blank\" rel=\"noopener\">financial chaos that caused the near closure of Sweet Briar\u003c/a> a few months ago — another small woman’s college, based in Virginia. DeCoudreaux says Mills is looking at many ways to generate revenue, including hosting more weddings and leasing a parcel of the college for development.\u003c/p>\n\u003cp>DeCoudreaux says the school should expand its business offerings, as they’re popular with students, and that this can be done without endangering its mission.\u003c/p>\n\u003cp>“We’re not looking at one thing instead of the other,” DeCoudreaux says. “We’re very mindful of our mission. And our goals really are to strengthen it for the long term future of the college.”\u003c/p>\n\u003cfigure id=\"attachment_11094599\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094599\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/011-1180x885.jpg\" alt=\"Bula Maddison, a visiting assistant professor at MiIls College\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bula Maddison, a visiting assistant professor at MiIls College \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the midst of the protests, the college is also negotiating a new contract with adjunct faculty, who unionized last year.\u003c/p>\n\u003cp>The proposed cuts have motivated the Book Arts and Dance programs to look at how they can attract more students to generate more income, perhaps through offering new sessions in January and summer classes.\u003c/p>\n\u003cp>But dance professor Ann Murphy warns that the arts won’t survive if all that matters is the bottom line.\u003c/p>\n\u003cp>“It’s a problem if there’s a philosophical position that the arts are expendable and that the arts have to pay their own way,” Murphy says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mills College administrators have asked students and faculty to submit their best ideas for the future of their departments by December 1.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sf-sketchfest-2016-includes-waiting-for-guffman-tribute-sally-field",
"title": "SF Sketchfest 2016 Includes 'Waiting For Guffman' Tribute, Sally Field",
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"headTitle": "SF Sketchfest 2016 Includes ‘Waiting For Guffman’ Tribute, Sally Field | KQED",
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"content": "\u003cp>The 2016 lineup for SF Sketchfest, San Francisco’s massively popular comedy festival, has been announced and just like previous years, it’s jam-packed and star-studded, with celebrities such as Sally Field, Jon Hamm and Parker Posey signed up for featured events.\u003c/p>\n\u003cp>Described as being “one of America’s most respected comedy festivals” by \u003ci>Rolling Stone,\u003c/i> next year’s SF Sketchfest — its 15th — will consist of over 200 events spread across over 16 days. Along with the sketch, stand up and improv comedy events that are the reason the festival started, there will be several film events, live game shows and podcast recordings, and even some events for the kids.\u003c/p>\n\u003cp>Top billing in the lineup is the 20th anniversary tribute to the hilarious Christopher Guest comedy \u003ci>Waiting For Guffman\u003c/i> that will include a cast reunion featuring Guest, Posey, Fred Willard and Bob Balaban. Also being featured is a in-person tribute to Oscar-winning actress Sally Field, who will have an on-stage conversation with comedic writer and actor Michael Showalter, and later show the movie they made together, \u003ci>Hello, My Name is Doris.\u003c/i>\u003c/p>\n\u003cp>Other featured events include the almost random-seeming pairing of comedian Patton Oswalt and Oakland rapper Boots Riley (of The Coup) for an “in conversation” event, and a performance by Jeff Goldblum and the Mildred Snitzer Orchestra.\u003c/p>\n\u003cp>Tickets range from $12 to $50 and go on sale Sunday, Nov. 22 at 10am. To buy tickets and and learn more information, go to \u003ca href=\"http://sfsketchfest.com/x/\" target=\"_blank\" rel=\"noopener\">sfsketchfest.com.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Check the list below for other events happening at SF Sketchfest.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>SF Sketchfest Tributes & Spotlights\u003c/strong>\u003c/p>\n\u003cp>● Tribute to “\u003cem>Waiting For Guffman\u003c/em>: Sesquicentennial + 20” with Bob Balaban, Christopher Guest, Parker Posey & Fred Willard\u003c/p>\n\u003cp>● Tribute to Sally Field: \u003cem>Hello, My Name Is Doris\u003c/em> Screening and Conversation with Sally Field & Michael Showalter\u003c/p>\n\u003cp>● Tribute to Jeff Goldblum: Conversation and Music with Jeff Goldblum and the Mildred Snitzer Orchestra\u003c/p>\n\u003cp>● Tribute to Patton Oswalt in Conversation with Boots Riley\u003c/p>\n\u003cp>● Tribute to \u003cem>Bob’s Burgers\u003c/em>: Loren Bouchard, Dan Mintz, Eugene Mirman, Larry Murphy, John Roberts & Kristen Schaal\u003c/p>\n\u003cp>● SF Sketchfest Comedy Writing Award: Dave Barry in Conversation\u003c/p>\n\u003cp>● Spotlight on \u003cem>Drunk History\u003c/em> with Derek Waters & Friends\u003c/p>\n\u003cp>\u003cstrong>Big Night Special Events\u003c/strong>\u003c/p>\n\u003cp>● Dave Foley, Kevin McDonald & Scott Thompson: Three Out of Five Ain’t Bad\u003c/p>\n\u003cp>● Facebook Improv with Owen Burke, Seth Morris, Paul Scheer and Charlie Sanders\u003c/p>\n\u003cp>● Morzouksnick with Nick Kroll, Jason Mantzoukas and Seth Morris\u003c/p>\n\u003cp>● Nerds and Music: A Night With Pat Rothfuss and Paul & Storm\u003c/p>\n\u003cp>● A Night with John Lurie in conversation with Parker Posey: \u003cem>Fishing with John\u003c/em> 25th Anniversary\u003c/p>\n\u003cp>● Noel Fielding and Bobcat Goldthwait in conversation\u003c/p>\n\u003cp>● NPR’s Ask Me Another\u003c/p>\n\u003cp>● Princess: Maya Rudolph and Gretchen Lieberum in an Evening of the Music of Prince\u003c/p>\n\u003cp>● \u003cem>Spontaneanation\u003c/em> with Paul F. Tompkins, Craig Cackowski, Matt Gourley, Janet Varney and Special Guest Jon Hamm\u003c/p>\n\u003cp>● \u003cem>StarTalk Live\u003c/em> with Bill Nye the Science Guy and Eugene Mirman\u003c/p>\n\u003cp>● Upright Citizens Brigade ASSSSCAT with Matt Besser, Ian Roberts, Matt Walsh, Jon Gabrus, Mary Holland, Brian Huskey and guest monologists Sally Field and Michael Showalter\u003c/p>\n\u003cp>\u003cstrong>Special Film & Video Events\u003c/strong>\u003c/p>\n\u003cp>● Found Footage Festival meets Everything is Terrible!\u003c/p>\n\u003cp>● \u003cem>Hey Monster, Hands Off My City\u003c/em> with Michael Meehan, Johnny Steele and Reggie Steele\u003c/p>\n\u003cp>● \u003cem>Hook\u003c/em> 25th Anniversary Screening with Dante Basco and James Madio (The Lost Boys’ Rufio and Don’t Ask)\u003c/p>\n\u003cp>● \u003cem>Hot Shots\u003c/em> 25th Anniversary with Jim Abrahams and Pat Proft\u003c/p>\n\u003cp>● RiffTrax Night of the Shorts VI with Michael J. Nelson, Kevin Murphy and Bill Corbett\u003c/p>\n\u003cp>● THE MADS ARE BACK! Live Movie Riffing with Trace Beaulieu and Frank Conniff\u003c/p>\n\u003cp>● \u003cem>Teen Witch\u003c/em>: The Peaches Christ Experience with Robyn Lively, Josh Miller and Mandy Ingber\u003c/p>\n\u003cp>\u003cstrong>Special Television Events\u003c/strong>\u003c/p>\n\u003cp>● \u003cem>BoJack Horseman\u003c/em> with Paul F. Tompkins, Lisa Hanawalt, Mike Hollingsworth and creator Raphael Bob-Waksberg\u003c/p>\n\u003cp>● \u003cem>Dr. Katz, Professional Therapist\u003c/em> Live\u003c/p>\n\u003cp>● \u003cem>Futurama\u003c/em>: Nothing New To Report with John DiMaggio, Maurice LaMarche, Lauren Tom and Billy West\u003c/p>\n\u003cp>● Galavanting with \u003cem>Galavant\u003c/em> with Timothy Omundson, Karen David, Mallory Jansen, Luke Youngblood and showrunners John Hoberg and Kat Likkel\u003c/p>\n\u003cp>● Pete & Pete Forever: \u003cem>The Adventures of Pete and Pete\u003c/em> Live with Michael C. Maronna, Danny Tamberelli, Toby Huss, Alison Fanelli, Rick Gomez, Mark Mulcahy, and creators Chris Viscardi and Will McRobb\u003c/p>\n\u003cp>● \u003cem>Sledge Hammer!\u003c/em> 30th Anniversary with creator Alan Spencer and more\u003c/p>\n\u003cp>● The Chris Gethard Show Presents: Chris Gethard versus Vacation Jason in a Literal Fight to the Death!\u003c/p>\n\u003cp>\u003cstrong>Special Theatrical Events\u003c/strong>\u003c/p>\n\u003cp>● Celebrity Autobiography with Pamela Adlon, Scott Adsit, Laraine Newman, Eugene Pack, Dayle Reyfel, Michael Urie and more\u003c/p>\n\u003cp>● Dead Pilots Society\u003c/p>\n\u003cp>● Workjuice Theater with Paget Brewster, Craig Cackowski, Mark Gagliardi, Marc Evan Jackson, Hal Lublin, Paul F. Tompkins and more\u003c/p>\n\u003cp>Debates\u003c/p>\n\u003cp>● Presidential Debate: The Write-In Candidates with James Adomian, Matt Besser, Paul Gilmartin, Mary Houlihan, Brian Huskey, Dan Van Kirk and moderator Tom Shillue from Fox News Channel’s “Red Eye”\u003c/p>\n\u003cp>● The Great Debate: “Donald Trump vs. Don(ald) Draper – Who Will Destroy America?” with Matt Price and IIyse Mimoun\u003c/p>\n\u003cp>● Uptown Showdown: The Internet vs. Real Life (IRL) with Maria Bamford, Guy Branum, Janeane Garofalo, Moshe Kasher, Natasha Leggero, Aparna Nancherla and emcee Beth Lisick\u003c/p>\n\u003cp>\u003cstrong>Game Shows & Interactive Events\u003c/strong>\u003c/p>\n\u003cp>● Bluff You with Jimmy Pardo\u003c/p>\n\u003cp>● Cultivated Wit’s Comedy Hack Day Finals\u003c/p>\n\u003cp>● Iron Comic with Nato Green and Moshe Kasher\u003c/p>\n\u003cp>● Jo Firestone’s “Friends of Single People” and “Incredible Game Show Showcase”\u003c/p>\n\u003cp>● Quiz-o-Tron with Rebecca Watson\u003c/p>\n\u003cp>\u003cstrong>Improv Comedy\u003c/strong>\u003c/p>\n\u003cp>● BATS: Improvised Game of Thrones\u003c/p>\n\u003cp>● The Black Version\u003c/p>\n\u003cp>● Each/Other with Scott Adsit and Tami Sagher\u003c/p>\n\u003cp>● Gravid Water\u003c/p>\n\u003cp>● The Groundlings: Crazy Uncle Joe Show\u003c/p>\n\u003cp>● The Groundlings: Personals with Stephanie Courtney, Jim Rash and more\u003c/p>\n\u003cp>● Improvised Shakespeare Company with Joey Bland, Ross Bryant, Greg Hess, Thomas Middleditch and Blaine Swen\u003c/p>\n\u003cp>● Prompter\u003c/p>\n\u003cp>● Speechless\u003c/p>\n\u003cp>● Theme Park Improv with Ian Brennan, John Michael Higgins, Michael Hitchcock, Jessica Makinson, Oscar Nunez, Cole Stratton and Janet Varney\u003c/p>\n\u003cp>● Who is Debbie Powell? with Eric Stonestreet, Dana Powell, Jessica Makinson and Michael Bunin\u003c/p>\n\u003cp>\u003cstrong>Kids Events\u003c/strong>\u003c/p>\n\u003cp>● The Groundlings Children’s Show with Stephanie Courtney, Beth Littleford and more\u003c/p>\n\u003cp>● Mo Willems’ Don’t Let the Comedians Do Storytime!\u003c/p>\n\u003cp>\u003cstrong>Music & Comedy\u003c/strong>\u003c/p>\n\u003cp>● BAKED with Brendon Small & Steve Agee\u003c/p>\n\u003cp>● Bring the Rock with Greg Behrendt\u003c/p>\n\u003cp>● The Imaginary Radio Program with Drennon Davis\u003c/p>\n\u003cp>● Jonathan Coulton & Friends\u003c/p>\n\u003cp>● Martin Starr and Band\u003c/p>\n\u003cp>● Night of Too Many Musical Comedians with Eli Braden, Drennon Davis, Dragon Boy Suede, Eliot Glazer: Haunting Renditions, Allie Goertz, Reformed Whores and DJ Real\u003c/p>\n\u003cp>● The Undone Sweaters: A Weezer Cover Band with Jim Tews, Reid Faylor, Andrew Short and Danny Tamberelli plus Weezer-themed comedy from Jonah Ray and Jacob Sirof\u003c/p>\n\u003cp>● Wheels Off with Rhett Miller\u003c/p>\n\u003cp>\u003cstrong>Podcasts & Talk Shows\u003c/strong>\u003c/p>\n\u003cp>● \u003cem>Come To Papa\u003c/em> with Tom Papa\u003c/p>\n\u003cp>● \u003cem>Comedy Nation\u003c/em> with John Fugelsang\u003c/p>\n\u003cp>● \u003cem>Computer Show\u003c/em> Live with Rob Baedeker\u003c/p>\n\u003cp>● \u003cem>The CrabFeast Podcast\u003c/em> with Jay Larson and Ryan Sickler\u003c/p>\n\u003cp>● \u003cem>Dork Forest\u003c/em> with Jackie Kashian\u003c/p>\n\u003cp>● \u003cem> Harmontown \u003c/em>with Dan Harmon and Jeff B. Davis\u003c/p>\n\u003cp>● \u003cem>Hound Tall\u003c/em> with Moshe Kasher\u003c/p>\n\u003cp>● \u003cem>improv4humans\u003c/em> with Matt Besser\u003c/p>\n\u003cp>● \u003cem>Jonah Raydio\u003c/em> with Jonah Ray\u003c/p>\n\u003cp>● \u003cem>Jordan, Jesse, Go!\u003c/em>\u003c/p>\n\u003cp>● \u003cem>Judge John Hodgman\u003c/em>\u003c/p>\n\u003cp>● \u003cem>The JV Club\u003c/em> with Janet Varney and guests Chuck Bryant and Josh Clark\u003c/p>\n\u003cp>● \u003cem>Never Not Funny\u003c/em> with Jimmy Pardo, Matt Belknap, Pat Francis and special guest Jon Hamm\u003c/p>\n\u003cp>● \u003cem>Pep Talks\u003c/em> with Eddie Pepitone\u003c/p>\n\u003cp>● \u003cem>Pop My Culture\u003c/em> Podcast with Cole Stratton and Vanessa Ragland and guest Fred Willard\u003c/p>\n\u003cp>● \u003cem>Probably Science\u003c/em> with Matt Kirshen and Andy Wood\u003c/p>\n\u003cp>● \u003cem>Rock Solid\u003c/em> with Pat Francis and David Wild\u003c/p>\n\u003cp>● \u003cem>Roderick on the Line\u003c/em> with John Roderick and Merlin Mann\u003c/p>\n\u003cp>● \u003cem>Ronna & Beverly\u003c/em>\u003c/p>\n\u003cp>● \u003cem>Sklarbro Country\u003c/em> with The Sklar Brothers\u003c/p>\n\u003cp>● \u003cem>Stuff You Should Know\u003c/em>\u003c/p>\n\u003cp>● \u003cem>Superego\u003c/em>\u003c/p>\n\u003cp>● \u003cem>The Todd Barry Podcast\u003c/em>\u003c/p>\n\u003cp>● \u003cem>Uhh Yeah Dude\u003c/em> with Jonathan Larroquette and Seth Romatelli\u003c/p>\n\u003cp>● \u003cem>The Wahlberg Solution\u003c/em> with Dan Van Kirk\u003c/p>\n\u003cp>● \u003cem>Walking the Room\u003c/em> with Dave Anthony and Greg Behrendt\u003c/p>\n\u003cp>● \u003cem>We Got This with Mark and Hal\u003c/em> and guest Adam Savage\u003c/p>\n\u003cp>● \u003cem>The World of Phil Hendrie\u003c/em>\u003c/p>\n\u003cp>● \u003cem>You’re the Expert\u003c/em> with Chris Duffy\u003c/p>\n\u003cp>\u003cstrong>Sketch Comedy\u003c/strong>\u003c/p>\n\u003cp>● Boat\u003c/p>\n\u003cp>● The Birthday Boys\u003c/p>\n\u003cp>● BriTANick\u003c/p>\n\u003cp>● Charles\u003c/p>\n\u003cp>● Dead Kevin\u003c/p>\n\u003cp>● Killing My Lobster\u003c/p>\n\u003cp>● Mission CTRL\u003c/p>\n\u003cp>● Paul Brittain: Sex Ed Vincent\u003c/p>\n\u003cp>\u003cstrong>Storytelling/Theatrical\u003c/strong>\u003c/p>\n\u003cp>● Bawdy Storytelling\u003c/p>\n\u003cp>● Competitive Erotic Fan Fiction with Bryan Cook\u003c/p>\n\u003cp>● First Comes Love with Kyle Ayers\u003c/p>\n\u003cp>● Mortified\u003c/p>\n\u003cp>● Porchlight with Beth Lisick and Arline Klatte\u003c/p>\n\u003cp>● \u003cem>RISK!\u003c/em> with Kevin Allison\u003c/p>\n\u003cp>● \u003cem>This is Not Happening\u003c/em> with Ari Shaffir\u003c/p>\n\u003cp>\u003cstrong>Variety and Stand-Up\u003c/strong>\u003c/p>\n\u003cp>● 2 Dope Queens with Phoebe Robinson and Jessica Williams\u003c/p>\n\u003cp>● 7 Minutes in Purgatory with Ian Abramson\u003c/p>\n\u003cp>● Alex Edelman: Millennial\u003c/p>\n\u003cp>● Alex Koll & Chris Thayer\u003c/p>\n\u003cp>● Andy Kindler’s Particular Show\u003c/p>\n\u003cp>● Aparna Nancherla\u003c/p>\n\u003cp>● Baron Vaughn\u003c/p>\n\u003cp>● Billy Wayne Davis\u003c/p>\n\u003cp>● Bobcat Goldthwait with Caitlin Gill: The Just Friends Tour\u003c/p>\n\u003cp>● Brandon Wardell\u003c/p>\n\u003cp>● Brent Weinbach Presents Spotlight on Andy Kaufman Award winner Brett Davis and finalists Jo Firestone and Ben Kronberg\u003c/p>\n\u003cp>● Brunches with Funches: Giggles & Nibbles with Ron Funches & Friends\u003c/p>\n\u003cp>● Chris Gethard: Career Suicide\u003c/p>\n\u003cp>● Cool Thanks with Janine Brito and Dave Thomason\u003c/p>\n\u003cp>● Dana Gould\u003c/p>\n\u003cp>● Fresh Out with Emily Heller and Adam Conover\u003c/p>\n\u003cp>● The Grawlix with Adam Cayton-Holland, Andrew Orvedahl and Ben Roy\u003c/p>\n\u003cp>● Invite Them Up with Eugene Mirman & Bobby Tisdale\u003c/p>\n\u003cp>● Janeane Garofalo\u003c/p>\n\u003cp>● Jeff Garlin and Associates\u003c/p>\n\u003cp>● Joe Machi & Lachlan Patterson\u003c/p>\n\u003cp>● Josh Androsky & Clare O’Kane\u003c/p>\n\u003cp>● Judah Friedlander: “If The Raindrops United” Stand-up and Book Release Show\u003c/p>\n\u003cp>● Little Esther Goes Through Your Stuff with Esther Povitsky\u003c/p>\n\u003cp>● Maria Bamford with Jackie Kashian and Natasha Muse\u003c/p>\n\u003cp>● Meet Me in the Bathroom and Tell Me All Your Secrets with Dave Hill\u003c/p>\n\u003cp>● Mo Willems’ Writing For Kids For Grown-Ups\u003c/p>\n\u003cp>● Natasha Leggero\u003c/p>\n\u003cp>● Picture This! 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"excerpt": "The lineup for the SF Sketchfest's 15th year has been announced and it's jam-packed: 200 events over 16 days.",
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"title": "SF Sketchfest 2016 Includes 'Waiting For Guffman' Tribute, Sally Field | KQED",
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"headline": "SF Sketchfest 2016 Includes 'Waiting For Guffman' Tribute, Sally Field",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2016 lineup for SF Sketchfest, San Francisco’s massively popular comedy festival, has been announced and just like previous years, it’s jam-packed and star-studded, with celebrities such as Sally Field, Jon Hamm and Parker Posey signed up for featured events.\u003c/p>\n\u003cp>Described as being “one of America’s most respected comedy festivals” by \u003ci>Rolling Stone,\u003c/i> next year’s SF Sketchfest — its 15th — will consist of over 200 events spread across over 16 days. Along with the sketch, stand up and improv comedy events that are the reason the festival started, there will be several film events, live game shows and podcast recordings, and even some events for the kids.\u003c/p>\n\u003cp>Top billing in the lineup is the 20th anniversary tribute to the hilarious Christopher Guest comedy \u003ci>Waiting For Guffman\u003c/i> that will include a cast reunion featuring Guest, Posey, Fred Willard and Bob Balaban. Also being featured is a in-person tribute to Oscar-winning actress Sally Field, who will have an on-stage conversation with comedic writer and actor Michael Showalter, and later show the movie they made together, \u003ci>Hello, My Name is Doris.\u003c/i>\u003c/p>\n\u003cp>Other featured events include the almost random-seeming pairing of comedian Patton Oswalt and Oakland rapper Boots Riley (of The Coup) for an “in conversation” event, and a performance by Jeff Goldblum and the Mildred Snitzer Orchestra.\u003c/p>\n\u003cp>Tickets range from $12 to $50 and go on sale Sunday, Nov. 22 at 10am. To buy tickets and and learn more information, go to \u003ca href=\"http://sfsketchfest.com/x/\" target=\"_blank\" rel=\"noopener\">sfsketchfest.com.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Check the list below for other events happening at SF Sketchfest.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>SF Sketchfest Tributes & Spotlights\u003c/strong>\u003c/p>\n\u003cp>● Tribute to “\u003cem>Waiting For Guffman\u003c/em>: Sesquicentennial + 20” with Bob Balaban, Christopher Guest, Parker Posey & Fred Willard\u003c/p>\n\u003cp>● Tribute to Sally Field: \u003cem>Hello, My Name Is Doris\u003c/em> Screening and Conversation with Sally Field & Michael Showalter\u003c/p>\n\u003cp>● Tribute to Jeff Goldblum: Conversation and Music with Jeff Goldblum and the Mildred Snitzer Orchestra\u003c/p>\n\u003cp>● Tribute to Patton Oswalt in Conversation with Boots Riley\u003c/p>\n\u003cp>● Tribute to \u003cem>Bob’s Burgers\u003c/em>: Loren Bouchard, Dan Mintz, Eugene Mirman, Larry Murphy, John Roberts & Kristen Schaal\u003c/p>\n\u003cp>● SF Sketchfest Comedy Writing Award: Dave Barry in Conversation\u003c/p>\n\u003cp>● Spotlight on \u003cem>Drunk History\u003c/em> with Derek Waters & Friends\u003c/p>\n\u003cp>\u003cstrong>Big Night Special Events\u003c/strong>\u003c/p>\n\u003cp>● Dave Foley, Kevin McDonald & Scott Thompson: Three Out of Five Ain’t Bad\u003c/p>\n\u003cp>● Facebook Improv with Owen Burke, Seth Morris, Paul Scheer and Charlie Sanders\u003c/p>\n\u003cp>● Morzouksnick with Nick Kroll, Jason Mantzoukas and Seth Morris\u003c/p>\n\u003cp>● Nerds and Music: A Night With Pat Rothfuss and Paul & Storm\u003c/p>\n\u003cp>● A Night with John Lurie in conversation with Parker Posey: \u003cem>Fishing with John\u003c/em> 25th Anniversary\u003c/p>\n\u003cp>● Noel Fielding and Bobcat Goldthwait in conversation\u003c/p>\n\u003cp>● NPR’s Ask Me Another\u003c/p>\n\u003cp>● Princess: Maya Rudolph and Gretchen Lieberum in an Evening of the Music of Prince\u003c/p>\n\u003cp>● \u003cem>Spontaneanation\u003c/em> with Paul F. Tompkins, Craig Cackowski, Matt Gourley, Janet Varney and Special Guest Jon Hamm\u003c/p>\n\u003cp>● \u003cem>StarTalk Live\u003c/em> with Bill Nye the Science Guy and Eugene Mirman\u003c/p>\n\u003cp>● Upright Citizens Brigade ASSSSCAT with Matt Besser, Ian Roberts, Matt Walsh, Jon Gabrus, Mary Holland, Brian Huskey and guest monologists Sally Field and Michael Showalter\u003c/p>\n\u003cp>\u003cstrong>Special Film & Video Events\u003c/strong>\u003c/p>\n\u003cp>● Found Footage Festival meets Everything is Terrible!\u003c/p>\n\u003cp>● \u003cem>Hey Monster, Hands Off My City\u003c/em> with Michael Meehan, Johnny Steele and Reggie Steele\u003c/p>\n\u003cp>● \u003cem>Hook\u003c/em> 25th Anniversary Screening with Dante Basco and James Madio (The Lost Boys’ Rufio and Don’t Ask)\u003c/p>\n\u003cp>● \u003cem>Hot Shots\u003c/em> 25th Anniversary with Jim Abrahams and Pat Proft\u003c/p>\n\u003cp>● RiffTrax Night of the Shorts VI with Michael J. 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"content": "\u003cp>The much-anticipated \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>, Deborah and Andy Rappaport’s ambitious Dogpatch neighborhood arts complex, announced its starting line-up of commercial galleries and project spaces Wednesday.\u003c/p>\n\u003cp>The roster includes a number of galleries displaced from their original spaces by rising rents and landlord evictions, like \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner Gallery\u003c/a> (former tenant of \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\">Studio 17\u003c/a>) and \u003ca href=\"http://www.renabranstengallery.com\" target=\"_blank\" rel=\"noopener\">Rena Bransten Gallery\u003c/a> (former tenant of \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\">77 Geary\u003c/a>). Other starter tenants include \u003ca href=\"http://www.casemorekirkeby.com/\" target=\"_blank\" rel=\"noopener\">Casemore Kirkeby\u003c/a>, \u003ca href=\"http://www.eleanorharwood.com/Eleanor_Harwood_Gallery/Home.html\" target=\"_blank\" rel=\"noopener\">Eleanor Harwood Gallery\u003c/a>, \u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener\">Et al. etc.\u003c/a>, \u003ca href=\"http://www.jackfischergallery.com/\" target=\"_blank\" rel=\"noopener\">Jack Fischer Gallery\u003c/a>, Nancy Toomey Fine Art and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener\">Themes + Projects\u003c/a>. \u003c/p>\n\u003cp>And the list isn’t entirely about the white-cube scene. \u003ca href=\"http://www.sfartsed.org/\" target=\"_blank\" rel=\"noopener\">The San Francisco Arts Education Project\u003c/a>, a nonprofit that posts working artists in San Francisco schools to teach theater, dance and visual arts to children, is another “charter member.”\u003c/p>\n\u003cfigure id=\"attachment_11092406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MSP640.jpg\" alt=\"Rendering of 1275 Minnesota St.\" width=\"640\" height=\"439\" class=\"size-full wp-image-11092406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MSP640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MSP640-400x274.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of 1275 Minnesota St. \u003ccite>(Photo: Jensen Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many galleries will relocate to Minnesota Street entirely, Et al. will expand — opening “a new gallery concept” at the complex while retaining their subterranean Chinatown space. Never ones to keep things simple, Et al. etc. will host two concurrent exhibitions at all times: one organized by Et al.’s directors Facundo Argañaraz, Jackie Im and Aaron Harbour, the other by a gallery from outside the Bay Area.\u003c/p>\n\u003cp>By its opening next spring, the complex will also host 30 private studios ranging from 250 to 800 square feet, “as well as 4,000 square feet of communal workspace and resources, including a wood shop, digital media lab, traditional printing presses, kiln, and other specialized tools and services,” the website proclaims. Minnesota Street Project is \u003ca href=\"http://minnesotastreetproject.com/studios\" target=\"_blank\" rel=\"noopener\">currently accepting applications\u003c/a> from those with a serious studio practice (this translates to an expected 25 hours per week of studio time, a luxury for many working artists). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project’s website also outlines “a comprehensive, concierge-based art-collection management service” for everyone from individuals to institutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, programming continues at Minnesota Street Project’s off-site pop-up gallery at 2291 Third St., with \u003ca href=\"http://minnesotastreetproject.com/exhibitions/2291-3rd-st/real-time-space-group-exhibition\" target=\"_blank\" rel=\"noopener\">an opening this Saturday\u003c/a> of artwork made in another, scrappier type of art complex, Oakland’s studio and residency program \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener\">Real Time & Space\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The much-anticipated \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>, Deborah and Andy Rappaport’s ambitious Dogpatch neighborhood arts complex, announced its starting line-up of commercial galleries and project spaces Wednesday.\u003c/p>\n\u003cp>The roster includes a number of galleries displaced from their original spaces by rising rents and landlord evictions, like \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner Gallery\u003c/a> (former tenant of \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\">Studio 17\u003c/a>) and \u003ca href=\"http://www.renabranstengallery.com\" target=\"_blank\" rel=\"noopener\">Rena Bransten Gallery\u003c/a> (former tenant of \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\">77 Geary\u003c/a>). Other starter tenants include \u003ca href=\"http://www.casemorekirkeby.com/\" target=\"_blank\" rel=\"noopener\">Casemore Kirkeby\u003c/a>, \u003ca href=\"http://www.eleanorharwood.com/Eleanor_Harwood_Gallery/Home.html\" target=\"_blank\" rel=\"noopener\">Eleanor Harwood Gallery\u003c/a>, \u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener\">Et al. etc.\u003c/a>, \u003ca href=\"http://www.jackfischergallery.com/\" target=\"_blank\" rel=\"noopener\">Jack Fischer Gallery\u003c/a>, Nancy Toomey Fine Art and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener\">Themes + Projects\u003c/a>. \u003c/p>\n\u003cp>And the list isn’t entirely about the white-cube scene. \u003ca href=\"http://www.sfartsed.org/\" target=\"_blank\" rel=\"noopener\">The San Francisco Arts Education Project\u003c/a>, a nonprofit that posts working artists in San Francisco schools to teach theater, dance and visual arts to children, is another “charter member.”\u003c/p>\n\u003cfigure id=\"attachment_11092406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MSP640.jpg\" alt=\"Rendering of 1275 Minnesota St.\" width=\"640\" height=\"439\" class=\"size-full wp-image-11092406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MSP640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MSP640-400x274.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of 1275 Minnesota St. \u003ccite>(Photo: Jensen Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many galleries will relocate to Minnesota Street entirely, Et al. will expand — opening “a new gallery concept” at the complex while retaining their subterranean Chinatown space. Never ones to keep things simple, Et al. etc. will host two concurrent exhibitions at all times: one organized by Et al.’s directors Facundo Argañaraz, Jackie Im and Aaron Harbour, the other by a gallery from outside the Bay Area.\u003c/p>\n\u003cp>By its opening next spring, the complex will also host 30 private studios ranging from 250 to 800 square feet, “as well as 4,000 square feet of communal workspace and resources, including a wood shop, digital media lab, traditional printing presses, kiln, and other specialized tools and services,” the website proclaims. Minnesota Street Project is \u003ca href=\"http://minnesotastreetproject.com/studios\" target=\"_blank\" rel=\"noopener\">currently accepting applications\u003c/a> from those with a serious studio practice (this translates to an expected 25 hours per week of studio time, a luxury for many working artists). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project’s website also outlines “a comprehensive, concierge-based art-collection management service” for everyone from individuals to institutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, programming continues at Minnesota Street Project’s off-site pop-up gallery at 2291 Third St., with \u003ca href=\"http://minnesotastreetproject.com/exhibitions/2291-3rd-st/real-time-space-group-exhibition\" target=\"_blank\" rel=\"noopener\">an opening this Saturday\u003c/a> of artwork made in another, scrappier type of art complex, Oakland’s studio and residency program \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener\">Real Time & Space\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Members of the Eagles of Death Metal band say they’re home safe after the Paris attacks and “are horrified and still trying to come to terms with what happened in France.”\u003c/p>\n\u003cp>The U.S. band was performing at the Bataclan when the deadly attacks occurred. Last Friday’s night of terror in Paris killed 129 people and wounded over 350 others.\u003c/p>\n\u003cp>“Our thoughts and hearts are first and foremost with our brother Nick Alexander, our record company comrades Thomas Ayad, Marie Mosser, and Manu Perez, and all the friends and fans whose lives were taken in Paris, as well as their friends, families, and loved ones,” the band said in a \u003ca href=\"https://www.facebook.com/eaglesofdeathmetal\" target=\"_blank\" rel=\"noopener\">statement released Wednesday\u003c/a>.\u003c/p>\n\u003cp>Eagles of Death Metal released a new album, \u003cem>Zipper Down\u003c/em>, last month. They were on a European tour. The band said all shows are on hold until further notice.\u003c/p>\n\u003cp>“Although bonded in grief with the victims, the fans, the families, the citizens of Paris, and all those affected by terrorism, we are proud to stand together, with our new family, now united by a common goal of love and compassion,” the band said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eagles of Death Metal was formed in 1998 in Palm Desert, California. Josh Homme, one of the founders of the band and leader of the band Queens of the Stone Age, wasn’t performing with Eagles of Death Metal in Paris.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band closed its statement by thanking “the French police, the FBI, the U.S. and French State Departments, and especially all those at ground zero with us who helped each other as best they could during this unimaginable ordeal, proving once again that love overshadows evil.”\u003c/p>\n\n",
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"description": "Members of the Eagles of Death Metal band say they're home safe after the Paris attacks and "are horrified and still trying to come to terms with what happened in France." The U.S. band was performing at the Bataclan when the deadly attacks occurred. Last Friday's night of terror in Paris killed 129 people and wounded over 350 others. "Our thoughts and hearts are first and foremost with our brother Nick Alexander, our record company comrades Thomas Ayad, Marie Mosser, and Manu Perez, and all the friends and fans whose lives were taken in Paris, as well as their friends,",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Members of the Eagles of Death Metal band say they’re home safe after the Paris attacks and “are horrified and still trying to come to terms with what happened in France.”\u003c/p>\n\u003cp>The U.S. band was performing at the Bataclan when the deadly attacks occurred. Last Friday’s night of terror in Paris killed 129 people and wounded over 350 others.\u003c/p>\n\u003cp>“Our thoughts and hearts are first and foremost with our brother Nick Alexander, our record company comrades Thomas Ayad, Marie Mosser, and Manu Perez, and all the friends and fans whose lives were taken in Paris, as well as their friends, families, and loved ones,” the band said in a \u003ca href=\"https://www.facebook.com/eaglesofdeathmetal\" target=\"_blank\" rel=\"noopener\">statement released Wednesday\u003c/a>.\u003c/p>\n\u003cp>Eagles of Death Metal released a new album, \u003cem>Zipper Down\u003c/em>, last month. They were on a European tour. The band said all shows are on hold until further notice.\u003c/p>\n\u003cp>“Although bonded in grief with the victims, the fans, the families, the citizens of Paris, and all those affected by terrorism, we are proud to stand together, with our new family, now united by a common goal of love and compassion,” the band said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eagles of Death Metal was formed in 1998 in Palm Desert, California. Josh Homme, one of the founders of the band and leader of the band Queens of the Stone Age, wasn’t performing with Eagles of Death Metal in Paris.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band closed its statement by thanking “the French police, the FBI, the U.S. and French State Departments, and especially all those at ground zero with us who helped each other as best they could during this unimaginable ordeal, proving once again that love overshadows evil.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Between the World and Me\u003c/em>, Ta-Nehisi Coates’ brief, unflinching meditation on race and police violence, won the National Book Award for nonfiction on Wednesday night. The fiction prize was given to Adam Johnson’s \u003cem>Fortune Smiles\u003c/em>, an eclectic and edgy story collection set everywhere from the former East Germany to a Louisiana community reeling from Hurricane Katrina.\u003c/p>\n\u003cp>Coates’ book has been on best-seller lists for months, and his acceptance speech was a stirring expression of gratitude and frustration. He dedicated his honor to his friend Prince Jones, who was killed by police 15 years ago and whose tragedy is at the core of “Between the World and Me.”\u003c/p>\n\u003cp>“\u003cem>Between the World and Me\u003c/em> comes out of that place,” said Coates, adding that similar shootings keep happening “over and over and over again.”\u003c/p>\n\u003cp>The young people’s literature prize went to Neal Shusterman’s \u003cem>Challenger Deep\u003c/em>, inspired by his then-teenage son’s struggles with mental illness, while Robin Coste Lewis’ debut collection, \u003cem>Voyage of the Sable Venus\u003c/em>, was the cited for poetry.\u003c/p>\n\u003cp>All winners received $10,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Earlier during the ceremony at Cipriani Wall Street, Don DeLillo received a lifetime achievement medal for his contributions to American letters. James Patterson was honored for his advocacy of reading and literacy.\u003c/p>\n\u003cp>Johnson’s award follows the Pulitzer Prize he received for his previous work, “The Orphan Master’s Son.” Both were edited by David Ebershoff, a longtime Random House executive who is leaving for a full-time writing career. Moviegoers may know him for the upcoming adaptation of his novel “The Danish Girl.”\u003c/p>\n\u003cp>Fiction judges had highlighted five works with contemporary settings, touching upon everything from race and class in Angela Flournoy’s Detroit-based \u003cem>The Turner House\u003c/em> to the chronicle of marriage in Lauren Groff’s \u003cem>Fates and Furies\u003c/em> to the economy in Karen E. Bender’s story collection “Refund.” Flournoy, in an email sent earlier in the week, observed that fiction “grants us access to lives and experiences that are different from our own, but it also shows the ways in which human experience has commonalities.”\u003c/p>\n\u003cp>“Fiction makes it clear that while the particulars of our lives vary, we’re all dealing with the same sorts of emotions, the same desires to be loved and seen and heard,” she wrote.\u003c/p>\n\u003cp>Some of the night’s speakers are known for their takes on current events, but their tone was more personal and the jokes mostly about publishing.\u003c/p>\n\u003cp>Host Andy Borowitz, who routinely turns out political satires for \u003cem>The New Yorker\u003c/em>, had nothing to say about the presidential campaigns but instead mocked the presumed obscurity of the awards’ sponsor, the National Book Foundation, and the presumed self-absorption of the literary community.\u003c/p>\n\u003cp>“If you’re not in the mood to hear people talking about themselves, you’re in the wrong place,” he said.\u003c/p>\n\u003cp>DeLillo’s speech came just days after the attacks in Paris, the kind of horror he had imagined in “Mao II” and so much of his work. But the 78-year-old author was at the awards event to talk about books and old friends, mourning such peers as E.L. Doctorow and James Salter, ruminating about the shelves down the hall from where he writes and listing not just the books but their publishers and list prices. (50 cents for Dostoevsky’s “House of the Dead,” a paperback from 1959.)\u003c/p>\n\u003cp>“I find myself gazing like a museum-goer,” he said of his shelves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier during the ceremony at Cipriani Wall Street, Don DeLillo received a lifetime achievement medal for his contributions to American letters. James Patterson was honored for his advocacy of reading and literacy.\u003c/p>\n\u003cp>Johnson’s award follows the Pulitzer Prize he received for his previous work, “The Orphan Master’s Son.” Both were edited by David Ebershoff, a longtime Random House executive who is leaving for a full-time writing career. Moviegoers may know him for the upcoming adaptation of his novel “The Danish Girl.”\u003c/p>\n\u003cp>Fiction judges had highlighted five works with contemporary settings, touching upon everything from race and class in Angela Flournoy’s Detroit-based \u003cem>The Turner House\u003c/em> to the chronicle of marriage in Lauren Groff’s \u003cem>Fates and Furies\u003c/em> to the economy in Karen E. Bender’s story collection “Refund.” Flournoy, in an email sent earlier in the week, observed that fiction “grants us access to lives and experiences that are different from our own, but it also shows the ways in which human experience has commonalities.”\u003c/p>\n\u003cp>“Fiction makes it clear that while the particulars of our lives vary, we’re all dealing with the same sorts of emotions, the same desires to be loved and seen and heard,” she wrote.\u003c/p>\n\u003cp>Some of the night’s speakers are known for their takes on current events, but their tone was more personal and the jokes mostly about publishing.\u003c/p>\n\u003cp>Host Andy Borowitz, who routinely turns out political satires for \u003cem>The New Yorker\u003c/em>, had nothing to say about the presidential campaigns but instead mocked the presumed obscurity of the awards’ sponsor, the National Book Foundation, and the presumed self-absorption of the literary community.\u003c/p>\n\u003cp>“If you’re not in the mood to hear people talking about themselves, you’re in the wrong place,” he said.\u003c/p>\n\u003cp>DeLillo’s speech came just days after the attacks in Paris, the kind of horror he had imagined in “Mao II” and so much of his work. But the 78-year-old author was at the awards event to talk about books and old friends, mourning such peers as E.L. Doctorow and James Salter, ruminating about the shelves down the hall from where he writes and listing not just the books but their publishers and list prices. (50 cents for Dostoevsky’s “House of the Dead,” a paperback from 1959.)\u003c/p>\n\u003cp>“I find myself gazing like a museum-goer,” he said of his shelves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>P.F. Sloan, the songwriter behind such classic 1960s tunes as Johnny Rivers’ “Secret Agent Man” and Barry McGuire’s “Eve of Destruction,” has died. He was 70.\u003c/p>\n\u003cp>Howard Wuelfing, a spokesman for Sloan, says the singer-songwriter died Sunday at his home in Los Angeles after battling pancreatic cancer for several weeks.\u003c/p>\n\u003cp>Sloan signed his first record deal when he was 13 and went on to write songs for such artists as the Turtles, Grass Roots and Fifth Dimension. He also released several of his own albums and published the memoir \u003cem>What’s Exactly The Matter With Me?\u003c/em> last year.\u003c/p>\n\u003cp>Other songs written by Sloan included Herman’s Hermits’ “A Must to Avoid,” Terry Black’s “Unless You Care” and Jan Dean’s “I Found a Girl.”\u003c/p>\n\u003cp>\u003cem>Copyright 2015 The Associated Press. All rights reserved.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>P.F. Sloan, the songwriter behind such classic 1960s tunes as Johnny Rivers’ “Secret Agent Man” and Barry McGuire’s “Eve of Destruction,” has died. He was 70.\u003c/p>\n\u003cp>Howard Wuelfing, a spokesman for Sloan, says the singer-songwriter died Sunday at his home in Los Angeles after battling pancreatic cancer for several weeks.\u003c/p>\n\u003cp>Sloan signed his first record deal when he was 13 and went on to write songs for such artists as the Turtles, Grass Roots and Fifth Dimension. He also released several of his own albums and published the memoir \u003cem>What’s Exactly The Matter With Me?\u003c/em> last year.\u003c/p>\n\u003cp>Other songs written by Sloan included Herman’s Hermits’ “A Must to Avoid,” Terry Black’s “Unless You Care” and Jan Dean’s “I Found a Girl.”\u003c/p>\n\u003cp>\u003cem>Copyright 2015 The Associated Press. All rights reserved.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is building a new intimate performance space, which it hopes to open in late February, and the organization recently took a group of journalists on a hard-hat tour of the project in process.\u003c/p>\n\u003cp>The new space is being built in the \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">Veteran’s Building\u003c/a> next door to the Opera House, as part of its plans to consolidate offices and its costume studio. At the invitation of the War Memorial Board of Trustees, which operates the Veteran’s Building, SF Opera is taking the whole fourth floor and parts of the basement once occupied by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_11089224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg\" alt=\"The entrance to the unfinished Taube Atrium Theater\" width=\"640\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-960x541.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to the unfinished Taube Atrium Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 299-seat “Dianne and Tad Taube Atrium Theater” will be the centerpiece of the Diane B. Wilsey Center for Opera. The theater is scheduled to open Feb. 28 with the first concert of the Schwabacher Debut Recital Series, followed by the San Francisco premiere of a multi-media version of Schubert’s Winterreise (Winter Journey), which is being produced by \u003ca href=\"http://www.nytimes.com/2014/11/13/arts/music/matthias-goerne-sings-kentridges-version-of-winterreise.html?_r=0\" target=\"_blank\" rel=\"noopener\">South African artist William Kentridge\u003c/a> and sung by German baritone Matthias Goerne. That will be followed by a series of chamber recitals and \u003ca href=\"http://www.anasokolovic.com/en/home\" target=\"_blank\" rel=\"noopener\"> Ana Sokolović’s Svadba-Wedding\u003c/a>, an a cappella chamber opera for six women.\u003c/p>\n\u003cp>“The Wilsey center and the (Taube) atrium theater will serve as an incubator for new ideas,” said the opera’s General Director David Gockley, “stimulating new audiences, keeping the public engaged with us, while the ballet is in the opera house during the first four or five months of the year.”\u003c/p>\n\u003cp>Gockley and architect Mark Cavagnero, who designed the SFJAZZ Center, led reporters on a hard hat tour of the $22-million refurbished space on Monday. Gockley noted that when he arrived at SF Opera ten years ago, the company was spread over seven locations, including commercial spaces whose rents were expected to triple or quadruple.\u003c/p>\n\u003cfigure id=\"attachment_11089222\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg\" alt=\"Architect Mark Cavagnero\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Architect Mark Cavagnero \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an immediate savings in rent of about a $1 million,” Gockley said as construction work continued around him, “which we are pouring into the programming of the Taube Atrium.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In some ways, SF Opera is copying the experiments of its neighbor, the San Francisco Symphony and its \u003ca href=\"http://ww2.kqed.org/news/2015/03/22/sf-symphony-entices-new-audiences-with-soundbox-venue\" target=\"_blank\" rel=\"noopener\">Soundbox concert venue\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11089220\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg\" alt=\"SF Opera General Director David Gockley testing out a seat for the new Taube Theater\" width=\"640\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1920x1386.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg 1955w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF Opera General Director David Gockley testing out a seat for the new Taube Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Opera hopes to attract the same younger, musically adventurous audiences that have made \u003ca href=\"http://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox such a success\u003c/a>. The opera’s new atrium theater will feature the same Meyer Sound Constellation acoustic system, and copy SoundBox’s more relaxed atmosphere.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an example of the new approach, the seats for the Taube Atrium Theater come equipped with cup holders, something that would be unthinkable in the Opera House next door.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is building a new intimate performance space, which it hopes to open in late February, and the organization recently took a group of journalists on a hard-hat tour of the project in process.\u003c/p>\n\u003cp>The new space is being built in the \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">Veteran’s Building\u003c/a> next door to the Opera House, as part of its plans to consolidate offices and its costume studio. At the invitation of the War Memorial Board of Trustees, which operates the Veteran’s Building, SF Opera is taking the whole fourth floor and parts of the basement once occupied by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_11089224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg\" alt=\"The entrance to the unfinished Taube Atrium Theater\" width=\"640\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-960x541.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to the unfinished Taube Atrium Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 299-seat “Dianne and Tad Taube Atrium Theater” will be the centerpiece of the Diane B. Wilsey Center for Opera. The theater is scheduled to open Feb. 28 with the first concert of the Schwabacher Debut Recital Series, followed by the San Francisco premiere of a multi-media version of Schubert’s Winterreise (Winter Journey), which is being produced by \u003ca href=\"http://www.nytimes.com/2014/11/13/arts/music/matthias-goerne-sings-kentridges-version-of-winterreise.html?_r=0\" target=\"_blank\" rel=\"noopener\">South African artist William Kentridge\u003c/a> and sung by German baritone Matthias Goerne. That will be followed by a series of chamber recitals and \u003ca href=\"http://www.anasokolovic.com/en/home\" target=\"_blank\" rel=\"noopener\"> Ana Sokolović’s Svadba-Wedding\u003c/a>, an a cappella chamber opera for six women.\u003c/p>\n\u003cp>“The Wilsey center and the (Taube) atrium theater will serve as an incubator for new ideas,” said the opera’s General Director David Gockley, “stimulating new audiences, keeping the public engaged with us, while the ballet is in the opera house during the first four or five months of the year.”\u003c/p>\n\u003cp>Gockley and architect Mark Cavagnero, who designed the SFJAZZ Center, led reporters on a hard hat tour of the $22-million refurbished space on Monday. Gockley noted that when he arrived at SF Opera ten years ago, the company was spread over seven locations, including commercial spaces whose rents were expected to triple or quadruple.\u003c/p>\n\u003cfigure id=\"attachment_11089222\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg\" alt=\"Architect Mark Cavagnero\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Architect Mark Cavagnero \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an immediate savings in rent of about a $1 million,” Gockley said as construction work continued around him, “which we are pouring into the programming of the Taube Atrium.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In some ways, SF Opera is copying the experiments of its neighbor, the San Francisco Symphony and its \u003ca href=\"http://ww2.kqed.org/news/2015/03/22/sf-symphony-entices-new-audiences-with-soundbox-venue\" target=\"_blank\" rel=\"noopener\">Soundbox concert venue\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11089220\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg\" alt=\"SF Opera General Director David Gockley testing out a seat for the new Taube Theater\" width=\"640\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1920x1386.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg 1955w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF Opera General Director David Gockley testing out a seat for the new Taube Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Opera hopes to attract the same younger, musically adventurous audiences that have made \u003ca href=\"http://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox such a success\u003c/a>. The opera’s new atrium theater will feature the same Meyer Sound Constellation acoustic system, and copy SoundBox’s more relaxed atmosphere.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an example of the new approach, the seats for the Taube Atrium Theater come equipped with cup holders, something that would be unthinkable in the Opera House next door.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Up close, the lights blink in an uncoordinated way — they’re a constellation of bright pinpoints without much meaning. The piece only starts to reveal itself when the viewer takes several steps away from it, becoming first a synchronized wave of moving lights, then resolving into human figures swimming in space.\u003c/p>\n\u003cfigure id=\"attachment_11087063\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-1180x664.jpg\" alt=\""Light Topography (Jane's Pool)," 2014, by Jim Campbell\" width=\"640\" height=\"360\" class=\"size-large wp-image-11087063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Light Topography (Jane’s Pool),” 2014, by Jim Campbell \u003ccite>(Courtesy: KQED Newsroom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The piece, titled “Jane’s Pool,” is one of several artworks on display at artist Jim Campbell’s fabrication studio in San Francisco. Made with hundreds of LED lights soldered to a circuit board that controls when the lights pulse and dim, “Jane’s Pool” plays with perception and motion.\u003c/p>\n\u003cp>“It’s all about movement,” says Campbell. “These images that I’m working with commonly don’t even exist without their movement.”\u003c/p>\n\u003cp>For all their high-tech presentation, the imagery is actually very low-resolution. Instead of the millions of pixels we’re accustomed to seeing in a single frame of high-definition television, Campbell’s works contain only a few hundred points of light. It’s the overall change in the lights, when viewed from the right distance, that translates into moving images of children playing or men and women walking.\u003c/p>\n\u003cfigure id=\"attachment_11087064\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-1180x664.jpg\" alt='\"The Journey,\" 2013, by Jim Campbell, located in the San Diego International Airport' width=\"640\" height=\"360\" class=\"size-large wp-image-11087064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The Journey,” 2013, by Jim Campbell, located in the San Diego International Airport \u003ccite>(Courtesy: KQED Newsroom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You’re almost decoding them, if you will,” says Campbell. “Learning how to fill in the blanks.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This still image of an installation at the San Diego airport shows part of a strip of thousands of suspended lights. Watch the video above to see the lights in motion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or go to see the artworks in person. \u003cem>\u003ca href=\"http://sjica.org/detail.html?eid=1121\" target=\"_blank\" rel=\"noopener\">JIM CAMPBELL: New Work and Collaborations\u003c/a>\u003c/em> opens at the San Jose Institute of Contemporary Art opens on Sunday, Nov. 15, 2015 and runs through Feb. 13, 2016. \u003c/p>\n\n",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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