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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Around this time of year, it’s easy to get wrapped up in the belief that there’s nothing going on around here except endless, mothballed productions of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">A Christmas Carol\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s true that there are probably more chestnuts on Bay Area stages than there are roasting on an open fire (at least in these parts). But it’s a “yes, and…”-type situation: The typical holiday season fare makes up only a small part of what’s on offer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was reminded of this fact over the weekend when, in a single day, I went from the kitsch jewel that is the annual \u003c/span>\u003ca href=\"http://www.dickensfair.com/\">\u003cb>Dickens Fair\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\"> at the Cow Palace to a head-spinning, hip-shimmying celebration of Cuban food, music and motion at \u003c/span>\u003ca href=\"http://dancemission.com/performances/upcoming.html#cubacaribe\">\u003cb>Dance Mission Theater\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watching Bay Area residents of all ages and ethnic backgrounds dressed up in bonnets and tailcoats, practicing their English accents, Morris dancing steps and sea-chantey singing, filled me with a kind of awe. There is such dedication and passion in the Dickens Fair community. And to go from this longstanding evocation of a quasi-mythical Christmas of yore in all its mustachioed, Victorian glory, to a very different yet equally committed cultural time-warp — \u003c/span>\u003cspan style=\"font-weight: 400\">a recreation of \u003c/span>\u003cspan style=\"font-weight: 400\">a night out at Havana’s fabled Tropicana nightclub — was deft proof of the depth and diversity of the Bay Area’s holiday season nightlife.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The organizers of the latter event (\u003c/span>\u003cspan style=\"font-weight: 400\">CubaCaribe and Dance Mission Theater)\u003c/span> \u003cspan style=\"font-weight: 400\">drew on members of the local Cuban community as well as nubile dancers imported from the homeland to conjure the spirit of the Caribbean island. The costumes were lurid and sparkly, the energy of the performances, unflagging. I staggered home, happy and exhausted, with rum on my tongue and the rhythm of the rumba in my ears.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With nods to shows that are all about Christmas, productions that capture the holiday spirit more obliquely, and events that apparently have little to do with the festive season beyond being scheduled to run in it, this week’s performing arts selections hopefully reflect more of the vitality and breadth of our region’s holiday time programming.\u003c/p>\n\u003cp>\u003cb>Now through Saturday, Dec. 19: Brian Copeland’s \u003c/b>\u003ca href=\"http://themarsh.org/jewelrybox/brian-copeland-3/\">\u003cb>\u003ci>The Jewelry Box\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Marsh, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">When you’re a 6-year-old kid growing up in the East Bay in the 1970s, how do you go about scrimping together the astronomical sum of $11.97 in order to buy your mom the ultimate Christmas gift? That’s the challenge facing the young protagonist in this autobiographical one-man show by Brian Copeland, the creator of long-running solo theater hits like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Not a Genuine Black Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Copeland is a wry, hilarious observer of his own childhood and surroundings. But there’s also a serious core to what’s essentially a heartwarming holiday show — especially in the way the performer describes the unsettling (and sadly still prescient) economic and racial disparities of Bay Area life 40 years ago. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11109950\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109950\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-800x410.jpg\" alt=\"Smuin Christmas Ballet\" width=\"800\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-800x410.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-400x205.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1180x605.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1920x984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-960x492.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smuin Christmas Ballet \u003ccite>(Photo: Chris Hardy/Smuin Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Now through Sunday, Dec. 27: Smuin Ballet presents \u003c/b>\u003ca href=\"http://smuinballet.org/buy-tickets-for-the-20152016-season/holiday-dance-program-the-christmas-ballet/\">\u003cb>\u003ci>The Christmas Ballet\u003c/i>\u003c/b>\u003c/a>\u003cb> at various locations throughout the Bay Area. \u003c/b>\u003cspan style=\"font-weight: 400\">The Smuin Ballet has been presenting this holiday tradition for more than 20 years. What keeps people coming back — other than the chance to enjoy a dance show that isn’t \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">or some derivative of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracke\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">r at this time of year — is the athleticism and fun of the choreography, the colorful creativity of the mise-en-scene, and the fact that there are always new, bite-sized items on the menu to stop things from feeling too much like party leftovers. This year’s production include a couple of fresh segments — a take on the beloved Christmas carol “Joy to the World” by company member \u003c/span>\u003cspan style=\"font-weight: 400\">dancer Nicole Haskins and choreographer-in-residence Amy Seiwert’s setting of “Home for the Holidays.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Wednesday, Dec. 2 – Saturday, Jan. 2: Theatreworks presents \u003c/b>\u003ca href=\"http://my.theatreworks.org/single/PSDetail.aspx?psn=3067\">\u003cb>\u003ci>Emma \u003c/i>\u003c/b>\u003c/a>\u003cb>at the Lucie Stern Theatre, Palo Alto. \u003c/b>\u003cspan style=\"font-weight: 400\">In January 1814, when Jane Austen embarked upon \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Emma, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">her novel about a young woman’s misguided attempts to play Cupid, the writer reportedly said, “I am going to take a heroine whom no one but myself will much like.” On the surface, composer/lyricist Paul Gordon’s bubbly take on the character is way more positive. Yet while Gordon’s 2007 musical (getting a re-run at Theatreworks, which premiered the piece in 2007) is on the whole a lovely, sugar-dusted confection — aided by the frosted pastel hues and clean lines of the Regency country manor–inspired set and the truffle-contoured costumes — shadows fitfully lurk under those empire-lined petticoats. Austen’s acerbic social commentary can’t help but smudge the musical’s shiny patina: The song “Hartfield” succinctly captures the pettiness, boredom, and claustrophobia of life around Emma’s Highbury home, while the ensemble number “Relations” (about the pros — and superficial cons — of being well-connected by birth) serves to highlight 19th-century class issues.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11109956\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109956\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-800x377.jpeg\" alt=\"Sarah Shelton Mann\" width=\"800\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-800x377.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-400x188.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-1180x556.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-1920x905.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-960x452.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sarah Shelton Mann \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Friday, Dec 4 – Saturday, Dec. 5: \u003c/b>\u003ca href=\"http://www.ybca.org/erasing-time\">\u003cb>\u003ci>Sarah Shelton Mann: Erasing Time\u003c/i>\u003c/b>\u003c/a>\u003cb> at Yerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">There are few figures who’ve exerted as great an influence on the Bay Area experimental performance scene as the multi-award-winning choreographer Sarah Shelton Mann. So it’s fitting that the first-ever retrospective of the artist’s career should be an epic one. During each of the two marathon, five-hour-long events at Yerba Buena Center for the Arts this weekend, Mann will direct, live in the space, some of her closest and longest-running collaborators in a world premiere that brings together dance, spoken word, music, and video installations. The event also includes a reimagining of one of Shelton Mann’s most seminal works, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Religare\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, from 1986. Bay Area performance stalwarts like Keith Hennessy, Jess Curtis and Kim Epifano made up the original cast of this desolate, violent, quasi-ritualistic piece; those same artists (plus many more) are part of YBCA’s celebration of Shelton Mann’s career.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Friday, Dec 4 – Sunday, Jan. 10: Shotgun Players present \u003c/b>\u003ca href=\"https://shotgunplayers.org/Online/mousetrap\">\u003cb>\u003ci>The Mousetrap\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Ashby Stage, Berkeley. \u003c/b>\u003cspan style=\"font-weight: 400\">For anyone who’s already had their fill of red-nosed reindeers, sugarplum fairies and their ilk this holiday season, the Berkeley-based company Shotgun Players has the perfect antidote in the shape of theater history’s most famous murder-mystery — and longest running show of any kind — \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Mousetrap\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Agatha Christie’s comedic 1952 potboiler investigates the fallout of a gruesome crime committed on the premises of a remote guest house. The fantastical whodunnit famously ends with a far-out twist — one which audiences are traditionally asked to keep to themselves. Shotgun Players revels in presenting holiday programming that’s just enough outside the realms of the typical fare to broaden the audience’s palette without putting them off their Christmas hams entirely. And this show, helmed by the company’s artistic director, Patrick Dooley, appears to fit the mandate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And a few more suggestions:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Wednesday, Dec. 2 – Thursday Dec. 10: \u003c/b>\u003ca href=\"http://sfoasis.com/event.cfm?id=156408&cart\">\u003cb>\u003ci>Absolutely Fabulous Live!: The Holiday Episodes\u003c/i>\u003c/b>\u003c/a>\u003cb> at Oasis, San Francisco\u003c/b>\u003c/p>\n\u003cp>\u003cb>Thursday, Dec. 3 – Saturday, Dec. 5: \u003c/b>\u003ca href=\"http://www.sfcurran.com/event/notes-of-a-native-song/\">\u003cb>\u003ci>Notes to a Native Song\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Curran Theatre, San Francisco\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Thursday, Dec 3 – Sunday, Dec. 20 \u003c/b>\u003ca href=\"http://www.hillbarntheatre.org/shows/fiddler-on-the-roof/\">\u003cb>\u003ci>Fiddler on the Roof\u003c/i>\u003c/b>\u003c/a>\u003cb> at Hillbarn Theatre, Foster City\u003c/b>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Around this time of year, it’s easy to get wrapped up in the belief that there’s nothing going on around here except endless, mothballed productions of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">A Christmas Carol\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s true that there are probably more chestnuts on Bay Area stages than there are roasting on an open fire (at least in these parts). But it’s a “yes, and…”-type situation: The typical holiday season fare makes up only a small part of what’s on offer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was reminded of this fact over the weekend when, in a single day, I went from the kitsch jewel that is the annual \u003c/span>\u003ca href=\"http://www.dickensfair.com/\">\u003cb>Dickens Fair\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\"> at the Cow Palace to a head-spinning, hip-shimmying celebration of Cuban food, music and motion at \u003c/span>\u003ca href=\"http://dancemission.com/performances/upcoming.html#cubacaribe\">\u003cb>Dance Mission Theater\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Watching Bay Area residents of all ages and ethnic backgrounds dressed up in bonnets and tailcoats, practicing their English accents, Morris dancing steps and sea-chantey singing, filled me with a kind of awe. There is such dedication and passion in the Dickens Fair community. And to go from this longstanding evocation of a quasi-mythical Christmas of yore in all its mustachioed, Victorian glory, to a very different yet equally committed cultural time-warp — \u003c/span>\u003cspan style=\"font-weight: 400\">a recreation of \u003c/span>\u003cspan style=\"font-weight: 400\">a night out at Havana’s fabled Tropicana nightclub — was deft proof of the depth and diversity of the Bay Area’s holiday season nightlife.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The organizers of the latter event (\u003c/span>\u003cspan style=\"font-weight: 400\">CubaCaribe and Dance Mission Theater)\u003c/span> \u003cspan style=\"font-weight: 400\">drew on members of the local Cuban community as well as nubile dancers imported from the homeland to conjure the spirit of the Caribbean island. The costumes were lurid and sparkly, the energy of the performances, unflagging. I staggered home, happy and exhausted, with rum on my tongue and the rhythm of the rumba in my ears.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With nods to shows that are all about Christmas, productions that capture the holiday spirit more obliquely, and events that apparently have little to do with the festive season beyond being scheduled to run in it, this week’s performing arts selections hopefully reflect more of the vitality and breadth of our region’s holiday time programming.\u003c/p>\n\u003cp>\u003cb>Now through Saturday, Dec. 19: Brian Copeland’s \u003c/b>\u003ca href=\"http://themarsh.org/jewelrybox/brian-copeland-3/\">\u003cb>\u003ci>The Jewelry Box\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Marsh, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">When you’re a 6-year-old kid growing up in the East Bay in the 1970s, how do you go about scrimping together the astronomical sum of $11.97 in order to buy your mom the ultimate Christmas gift? That’s the challenge facing the young protagonist in this autobiographical one-man show by Brian Copeland, the creator of long-running solo theater hits like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Not a Genuine Black Man\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Copeland is a wry, hilarious observer of his own childhood and surroundings. But there’s also a serious core to what’s essentially a heartwarming holiday show — especially in the way the performer describes the unsettling (and sadly still prescient) economic and racial disparities of Bay Area life 40 years ago. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11109950\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109950\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-800x410.jpg\" alt=\"Smuin Christmas Ballet\" width=\"800\" height=\"410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-800x410.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-400x205.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1180x605.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-1920x984.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Christmas-Ballet-2-Licht-Benshn_Chris-Hardy-e1448498088485-960x492.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smuin Christmas Ballet \u003ccite>(Photo: Chris Hardy/Smuin Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Now through Sunday, Dec. 27: Smuin Ballet presents \u003c/b>\u003ca href=\"http://smuinballet.org/buy-tickets-for-the-20152016-season/holiday-dance-program-the-christmas-ballet/\">\u003cb>\u003ci>The Christmas Ballet\u003c/i>\u003c/b>\u003c/a>\u003cb> at various locations throughout the Bay Area. \u003c/b>\u003cspan style=\"font-weight: 400\">The Smuin Ballet has been presenting this holiday tradition for more than 20 years. What keeps people coming back — other than the chance to enjoy a dance show that isn’t \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">or some derivative of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracke\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">r at this time of year — is the athleticism and fun of the choreography, the colorful creativity of the mise-en-scene, and the fact that there are always new, bite-sized items on the menu to stop things from feeling too much like party leftovers. This year’s production include a couple of fresh segments — a take on the beloved Christmas carol “Joy to the World” by company member \u003c/span>\u003cspan style=\"font-weight: 400\">dancer Nicole Haskins and choreographer-in-residence Amy Seiwert’s setting of “Home for the Holidays.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Wednesday, Dec. 2 – Saturday, Jan. 2: Theatreworks presents \u003c/b>\u003ca href=\"http://my.theatreworks.org/single/PSDetail.aspx?psn=3067\">\u003cb>\u003ci>Emma \u003c/i>\u003c/b>\u003c/a>\u003cb>at the Lucie Stern Theatre, Palo Alto. \u003c/b>\u003cspan style=\"font-weight: 400\">In January 1814, when Jane Austen embarked upon \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Emma, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">her novel about a young woman’s misguided attempts to play Cupid, the writer reportedly said, “I am going to take a heroine whom no one but myself will much like.” On the surface, composer/lyricist Paul Gordon’s bubbly take on the character is way more positive. Yet while Gordon’s 2007 musical (getting a re-run at Theatreworks, which premiered the piece in 2007) is on the whole a lovely, sugar-dusted confection — aided by the frosted pastel hues and clean lines of the Regency country manor–inspired set and the truffle-contoured costumes — shadows fitfully lurk under those empire-lined petticoats. Austen’s acerbic social commentary can’t help but smudge the musical’s shiny patina: The song “Hartfield” succinctly captures the pettiness, boredom, and claustrophobia of life around Emma’s Highbury home, while the ensemble number “Relations” (about the pros — and superficial cons — of being well-connected by birth) serves to highlight 19th-century class issues.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11109956\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109956\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-800x377.jpeg\" alt=\"Sarah Shelton Mann\" width=\"800\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-800x377.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-400x188.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-1180x556.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-1920x905.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/1-Sara-Shelton-Mann_credit_Robbie-Sweeney-e1448498523341-960x452.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sarah Shelton Mann \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Friday, Dec 4 – Saturday, Dec. 5: \u003c/b>\u003ca href=\"http://www.ybca.org/erasing-time\">\u003cb>\u003ci>Sarah Shelton Mann: Erasing Time\u003c/i>\u003c/b>\u003c/a>\u003cb> at Yerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">There are few figures who’ve exerted as great an influence on the Bay Area experimental performance scene as the multi-award-winning choreographer Sarah Shelton Mann. So it’s fitting that the first-ever retrospective of the artist’s career should be an epic one. During each of the two marathon, five-hour-long events at Yerba Buena Center for the Arts this weekend, Mann will direct, live in the space, some of her closest and longest-running collaborators in a world premiere that brings together dance, spoken word, music, and video installations. The event also includes a reimagining of one of Shelton Mann’s most seminal works, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Religare\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, from 1986. Bay Area performance stalwarts like Keith Hennessy, Jess Curtis and Kim Epifano made up the original cast of this desolate, violent, quasi-ritualistic piece; those same artists (plus many more) are part of YBCA’s celebration of Shelton Mann’s career.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Friday, Dec 4 – Sunday, Jan. 10: Shotgun Players present \u003c/b>\u003ca href=\"https://shotgunplayers.org/Online/mousetrap\">\u003cb>\u003ci>The Mousetrap\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Ashby Stage, Berkeley. \u003c/b>\u003cspan style=\"font-weight: 400\">For anyone who’s already had their fill of red-nosed reindeers, sugarplum fairies and their ilk this holiday season, the Berkeley-based company Shotgun Players has the perfect antidote in the shape of theater history’s most famous murder-mystery — and longest running show of any kind — \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Mousetrap\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Agatha Christie’s comedic 1952 potboiler investigates the fallout of a gruesome crime committed on the premises of a remote guest house. The fantastical whodunnit famously ends with a far-out twist — one which audiences are traditionally asked to keep to themselves. Shotgun Players revels in presenting holiday programming that’s just enough outside the realms of the typical fare to broaden the audience’s palette without putting them off their Christmas hams entirely. And this show, helmed by the company’s artistic director, Patrick Dooley, appears to fit the mandate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And a few more suggestions:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Wednesday, Dec. 2 – Thursday Dec. 10: \u003c/b>\u003ca href=\"http://sfoasis.com/event.cfm?id=156408&cart\">\u003cb>\u003ci>Absolutely Fabulous Live!: The Holiday Episodes\u003c/i>\u003c/b>\u003c/a>\u003cb> at Oasis, San Francisco\u003c/b>\u003c/p>\n\u003cp>\u003cb>Thursday, Dec. 3 – Saturday, Dec. 5: \u003c/b>\u003ca href=\"http://www.sfcurran.com/event/notes-of-a-native-song/\">\u003cb>\u003ci>Notes to a Native Song\u003c/i>\u003c/b>\u003c/a>\u003cb> at The Curran Theatre, San Francisco\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Dede Wilsey, San Francisco Fine Arts Museums board chair and CEO, is standing by her decision to pay an ailing former museum employee $450,000, despite not obtaining board approval beforehand.\u003c/p>\n\u003cp>In a memo sent to the board last week and obtained by \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/Dede-Wilsey-on-the-accurate-facts-in-museum-6661432.php\" target=\"_blank\" rel=\"noopener\">the San Francisco Chronicle\u003c/a>, telling members that the museums under her charge — the de Young Museum and Legion of Honor — have never been better off and that she did nothing wrong with the payment.\u003c/p>\n\u003cp>The payment became an issue when \u003ca href=\"http://ww2.kqed.org/arts/2015/10/20/san-francisco-museum-president-under-fire-for-unauthorized-payment/\" target=\"_blank\" rel=\"noopener\">former museum CFO Michele Gutierrez filed a complaint\u003c/a> with the city and state Attorney General Kamala Harris over the payment last month. Guiterrez was placed on administrative leave soon after the SF Chronicle \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/S-F-Fine-Arts-Museums-chief-Dede-Wilsey-accused-6575346.php\" target=\"_blank\" rel=\"noopener\">reported on her complaint\u003c/a>. \u003c/p>\n\u003cp>Read more about the memo and the controversy surrounding Wilsey \u003ca href=\"http://sfist.com/2015/11/30/oh_dear_dede_ms_wilsey_defiant_says.php\" target=\"_blank\" rel=\"noopener\">on SFist\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dede Wilsey, San Francisco Fine Arts Museums board chair and CEO, is standing by her decision to pay an ailing former museum employee $450,000, despite not obtaining board approval beforehand.\u003c/p>\n\u003cp>In a memo sent to the board last week and obtained by \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/Dede-Wilsey-on-the-accurate-facts-in-museum-6661432.php\" target=\"_blank\" rel=\"noopener\">the San Francisco Chronicle\u003c/a>, telling members that the museums under her charge — the de Young Museum and Legion of Honor — have never been better off and that she did nothing wrong with the payment.\u003c/p>\n\u003cp>The payment became an issue when \u003ca href=\"http://ww2.kqed.org/arts/2015/10/20/san-francisco-museum-president-under-fire-for-unauthorized-payment/\" target=\"_blank\" rel=\"noopener\">former museum CFO Michele Gutierrez filed a complaint\u003c/a> with the city and state Attorney General Kamala Harris over the payment last month. Guiterrez was placed on administrative leave soon after the SF Chronicle \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/S-F-Fine-Arts-Museums-chief-Dede-Wilsey-accused-6575346.php\" target=\"_blank\" rel=\"noopener\">reported on her complaint\u003c/a>. \u003c/p>\n\u003cp>Read more about the memo and the controversy surrounding Wilsey \u003ca href=\"http://sfist.com/2015/11/30/oh_dear_dede_ms_wilsey_defiant_says.php\" target=\"_blank\" rel=\"noopener\">on SFist\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Late last week, over three days, the San Francisco Police Department responded to 34 reports of citizens finding baseball bats, many full of nails, chained to utility poles around the city, mostly near Fisherman’s Wharf. In one case early Thursday morning, the bat looked as if it could be a pipe bomb — it was not — prompting a \u003ca href=\"http://sfist.com/2015/11/27/bizarre_weaponized_baseball_bats_fo.php\" target=\"_blank\" rel=\"noopener\">response from the SFPD Bomb Squad\u003c/a>.\u003c/p>\n\u003cp>As of Monday, Nov. 30, officers have yet to determine a suspect or a possible motive. But \u003ca href=\"https://twitter.com/KatieUtehs\" target=\"_blank\" rel=\"noopener\">KGO’s Katie Utehs\u003c/a>, who has been following the \u003ca href=\"http://abc7news.com/news/weapon-like-baseball-bats-found-chained-to-poles-throughout-sf/1101417/\" target=\"_blank\" rel=\"noopener\">story since Thursday\u003c/a>, spoke to a local resident who posited the idea that maybe the bats were part of an art project.\u003c/p>\n\u003cp>“Art project, freak people out, or a promotion or something,” San Francisco resident Gerrie Burke told KGO last Thursday.\u003c/p>\n\u003cp>As crazy as it might sound, there are precedents for Burke’s theories that the bats are art-related, the most notable of which took place not long after the 9/11 attacks in New York: Clinton Boisvert, a student from Manhattan’s School of Visual Arts, taped \u003ca href=\"http://www.nytimes.com/2002/12/17/nyregion/art-student-s-project-on-fear-becomes-a-lesson-in-the-law.html\" target=\"_blank\" rel=\"noopener\">37 black cardboard boxes with the words “Fear” written on them\u003c/a> around a NYC subway station. The boxes resulted in the shutdown of the station for hours while a bomb squad examined each of them, as well as the Boisvert’s arrest on the charge of “reckless endangerment.” The pieces, Boisvert told police, were for a sculpture class — at the time of the incident, his teacher said, Boisvert was an A student.\u003c/p>\n\u003cp>If, in a similar vein, San Francisco’s bats are indeed an art project, KQED’s visual arts editor Sarah Hotchkiss has issued the following grade: “If it is art, then it’s not very good art.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/KatieUtehs/status/671483337567899648\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Late last week, over three days, the San Francisco Police Department responded to 34 reports of citizens finding baseball bats, many full of nails, chained to utility poles around the city, mostly near Fisherman’s Wharf. In one case early Thursday morning, the bat looked as if it could be a pipe bomb — it was not — prompting a \u003ca href=\"http://sfist.com/2015/11/27/bizarre_weaponized_baseball_bats_fo.php\" target=\"_blank\" rel=\"noopener\">response from the SFPD Bomb Squad\u003c/a>.\u003c/p>\n\u003cp>As of Monday, Nov. 30, officers have yet to determine a suspect or a possible motive. But \u003ca href=\"https://twitter.com/KatieUtehs\" target=\"_blank\" rel=\"noopener\">KGO’s Katie Utehs\u003c/a>, who has been following the \u003ca href=\"http://abc7news.com/news/weapon-like-baseball-bats-found-chained-to-poles-throughout-sf/1101417/\" target=\"_blank\" rel=\"noopener\">story since Thursday\u003c/a>, spoke to a local resident who posited the idea that maybe the bats were part of an art project.\u003c/p>\n\u003cp>“Art project, freak people out, or a promotion or something,” San Francisco resident Gerrie Burke told KGO last Thursday.\u003c/p>\n\u003cp>As crazy as it might sound, there are precedents for Burke’s theories that the bats are art-related, the most notable of which took place not long after the 9/11 attacks in New York: Clinton Boisvert, a student from Manhattan’s School of Visual Arts, taped \u003ca href=\"http://www.nytimes.com/2002/12/17/nyregion/art-student-s-project-on-fear-becomes-a-lesson-in-the-law.html\" target=\"_blank\" rel=\"noopener\">37 black cardboard boxes with the words “Fear” written on them\u003c/a> around a NYC subway station. The boxes resulted in the shutdown of the station for hours while a bomb squad examined each of them, as well as the Boisvert’s arrest on the charge of “reckless endangerment.” The pieces, Boisvert told police, were for a sculpture class — at the time of the incident, his teacher said, Boisvert was an A student.\u003c/p>\n\u003cp>If, in a similar vein, San Francisco’s bats are indeed an art project, KQED’s visual arts editor Sarah Hotchkiss has issued the following grade: “If it is art, then it’s not very good art.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On Monday night, ABC will air a special at 7 p.m. called \u003cem>It’s Your 50th Christmas, Charlie Brown,\u003c/em> to mark the half-century since \u003cem>A Charlie Brown Christmas \u003c/em>first aired in 1965. Then at 8, it will air the special itself.\u003c/p>\n\u003cp>[contextly_sidebar id=”Xb1zRVabgdx7TjqNYtpKpOUNoGELDhGD”]\u003c/p>\n\u003cp>There’s so much about \u003cem>A Charlie Brown Christmas \u003c/em>that you’d never see on network television holiday specials now, I suspect. A special that, if not \u003cem>for\u003c/em> children, is certainly intended to be accessible \u003cem>by \u003c/em>children would never use that “guzzling Irish coffee in a bar on a snow-blanketed night in New York when you just got stood up but you feel weirdly OK about it” Vince Guaraldi music. Mass-marketed entertainment doesn’t tend to trust kids’ capacity to appreciate either stripped-down scores or the natural blues of winter that much. The kids’ chorus singing would be replaced by a Demi Lovato version of “The Little Drummer Boy” or something like that. Pardon the cynicism, but … wouldn’t it?\u003c/p>\n\u003cp>Watching the special now, its bleakness is palpable and bracing. It opens with Charlie Brown defining his problem in part as, in these words, “I’m not happy. I don’t feel the way I’m supposed to feel.” Straight-up dread, straight-up emotional emptiness. When Linus — who is, in many ways, the \u003cem>nice \u003c/em>one — tells him, “Of all the Charlie Browns in the world, you’re the Charlie Browniest,” it feels like the kind of improvisational brutality in which kids really do specialize.\u003c/p>\n\u003cp>And that’s not his only problem. Charlie Brown says things like, “I know nobody likes me. Why do we have to have a holiday season to emphasize it?” \u003cem>I know nobody likes me\u003c/em>. That’s unvarnished, and while the special will end with everyone telling him “Merry Christmas,” you will not really see much evidence in the next 20-plus minutes that they do, in fact, like him. He’s sad, for real, and he lives in that feeling, and he uses the word “depressed” to describe it. As with most things in Charlie Brown’s life, it is a load that will be temporarily lifted, but never resolved.\u003c/p>\n\u003cfigure id=\"attachment_11123075\" class=\"wp-caption alignright\" style=\"max-width: 883px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\" alt=\"Kristen Bell hosts a retrospective called It's Your 50th Christmas, Charlie Brown, Monday night on ABC.\" width=\"883\" height=\"662\" class=\"size-full wp-image-11123075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg 883w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-800x600.jpg 800w\" sizes=\"(max-width: 883px) 100vw, 883px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kristen Bell hosts a retrospective called It’s Your 50th Christmas, Charlie Brown, Monday night on ABC. \u003ccite>(Photo: Nicole Wilder/ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s so desperate for help, in fact, that he continues to pay Lucy five cents to think poorly of him in more sophisticated language. Her solution to his need for “involvement” is to make him the director of the Christmas play, a doomed scenario from the start, no?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But of course, it’s also unlikely that a special would end with a character reading Scripture with the earnestness of Linus. (It might be unlikely for a character to exist with the earnestness of Linus in the first place.) But as common as it is for viewers to remark on the religious content of the special, that content doesn’t exist in a vacuum. It doesn’t exist to say, “It’s a religious holiday, and therefore you should spurn its secular aspects.” Quite the contrary: Linus’ reading inspires Charlie Brown to redouble his efforts to decorate his sad little tree. And it inspires his friends to follow him and, when he becomes overwhelmed with sadness about said sad little tree, to help him.\u003c/p>\n\u003cp>So as much as \u003cem>A Charlie Brown Christmas \u003c/em>is about the significance of the religious tradition as what Christmas is “really about,” it sees that tradition at least in part as a gateway to, and an inspiration for, other actions. It doesn’t only suggest Christmas is \u003cem>really \u003c/em>about the Bible story; it suggests Christmas is also really about friends, dogs, cooperating, the beauty of humble things, singing out loud, and hope. It’s just not about writing your Christmas list and asking for, as Sally does, “10s and 20s.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only thing you really can’t recapture from 1965 is scarcity. It was once the case that Christmas specials could be seen only at Christmas. Now, you and your family can watch Charlie Brown anytime you want, anywhere you want. It’s convenience at the expense of a certain kind of preciousness, to be sure. But if you still want to be the kind of person who watches things when they happen to be on, Monday night is the night for that sad little tree. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Christmas%27+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday night, ABC will air a special at 7 p.m. called \u003cem>It’s Your 50th Christmas, Charlie Brown,\u003c/em> to mark the half-century since \u003cem>A Charlie Brown Christmas \u003c/em>first aired in 1965. Then at 8, it will air the special itself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There’s so much about \u003cem>A Charlie Brown Christmas \u003c/em>that you’d never see on network television holiday specials now, I suspect. A special that, if not \u003cem>for\u003c/em> children, is certainly intended to be accessible \u003cem>by \u003c/em>children would never use that “guzzling Irish coffee in a bar on a snow-blanketed night in New York when you just got stood up but you feel weirdly OK about it” Vince Guaraldi music. Mass-marketed entertainment doesn’t tend to trust kids’ capacity to appreciate either stripped-down scores or the natural blues of winter that much. The kids’ chorus singing would be replaced by a Demi Lovato version of “The Little Drummer Boy” or something like that. Pardon the cynicism, but … wouldn’t it?\u003c/p>\n\u003cp>Watching the special now, its bleakness is palpable and bracing. It opens with Charlie Brown defining his problem in part as, in these words, “I’m not happy. I don’t feel the way I’m supposed to feel.” Straight-up dread, straight-up emotional emptiness. When Linus — who is, in many ways, the \u003cem>nice \u003c/em>one — tells him, “Of all the Charlie Browns in the world, you’re the Charlie Browniest,” it feels like the kind of improvisational brutality in which kids really do specialize.\u003c/p>\n\u003cp>And that’s not his only problem. Charlie Brown says things like, “I know nobody likes me. Why do we have to have a holiday season to emphasize it?” \u003cem>I know nobody likes me\u003c/em>. That’s unvarnished, and while the special will end with everyone telling him “Merry Christmas,” you will not really see much evidence in the next 20-plus minutes that they do, in fact, like him. He’s sad, for real, and he lives in that feeling, and he uses the word “depressed” to describe it. As with most things in Charlie Brown’s life, it is a load that will be temporarily lifted, but never resolved.\u003c/p>\n\u003cfigure id=\"attachment_11123075\" class=\"wp-caption alignright\" style=\"max-width: 883px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg\" alt=\"Kristen Bell hosts a retrospective called It's Your 50th Christmas, Charlie Brown, Monday night on ABC.\" width=\"883\" height=\"662\" class=\"size-full wp-image-11123075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d.jpg 883w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/141030_5120-172bc4e766e47e2c54e183265a71aff657aa934d-800x600.jpg 800w\" sizes=\"(max-width: 883px) 100vw, 883px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kristen Bell hosts a retrospective called It’s Your 50th Christmas, Charlie Brown, Monday night on ABC. \u003ccite>(Photo: Nicole Wilder/ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s so desperate for help, in fact, that he continues to pay Lucy five cents to think poorly of him in more sophisticated language. Her solution to his need for “involvement” is to make him the director of the Christmas play, a doomed scenario from the start, no?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But of course, it’s also unlikely that a special would end with a character reading Scripture with the earnestness of Linus. (It might be unlikely for a character to exist with the earnestness of Linus in the first place.) But as common as it is for viewers to remark on the religious content of the special, that content doesn’t exist in a vacuum. It doesn’t exist to say, “It’s a religious holiday, and therefore you should spurn its secular aspects.” Quite the contrary: Linus’ reading inspires Charlie Brown to redouble his efforts to decorate his sad little tree. And it inspires his friends to follow him and, when he becomes overwhelmed with sadness about said sad little tree, to help him.\u003c/p>\n\u003cp>So as much as \u003cem>A Charlie Brown Christmas \u003c/em>is about the significance of the religious tradition as what Christmas is “really about,” it sees that tradition at least in part as a gateway to, and an inspiration for, other actions. It doesn’t only suggest Christmas is \u003cem>really \u003c/em>about the Bible story; it suggests Christmas is also really about friends, dogs, cooperating, the beauty of humble things, singing out loud, and hope. It’s just not about writing your Christmas list and asking for, as Sally does, “10s and 20s.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only thing you really can’t recapture from 1965 is scarcity. It was once the case that Christmas specials could be seen only at Christmas. Now, you and your family can watch Charlie Brown anytime you want, anywhere you want. It’s convenience at the expense of a certain kind of preciousness, to be sure. But if you still want to be the kind of person who watches things when they happen to be on, Monday night is the night for that sad little tree. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Charlie+Brown+Christmas%27+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It may not seem that way if you’re an artist struggling to pay the rent, but San Francisco is one of the world’s leaders in supporting the arts.\u003c/p>\n\u003cp>Last weekend the San Francisco Arts Commission’s Cultural Affairs Director, Tom DeCaigny, joined delegates from 31 cities around the globe for the \u003ca href=\"http://www.worldcitiescultureforum.com/\" target=\"_blank\" rel=\"noopener\">World Cities Culture Forum \u003c/a>in London to discuss how civic leaders can keep economic growth from coming at the expense of a city’s cultural soul.\u003c/p>\n\u003cp>The forum was founded in London in conjunction with the 2012 Olympic Games, with the idea that as people gather in peace to celebrate sports, they should also acknowledge the way arts and culture do that same thing every day.\u003c/p>\n\u003cfigure id=\"attachment_11109244\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109244\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-800x503.jpg\" alt=\"San Francisco Cultural Affairs Director Tom DeCaigny\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-1180x742.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-1920x1207.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Cultural Affairs Director Tom DeCaigny \u003ccite>(Photo: Cole Antestberger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KQED talked to DeCaigny about what he learned at the forum and what might make San Francisco and other cities around the Bay Area even more vibrant and harmonious.\u003c/p>\n\u003cp>\u003cstrong>The forum was trying to answer this big question: does a city’s growth come at the expense of its cultural soul? We’ve certainly seen this played out recently in San Francisco where the tech boom is pricing artists and arts groups out of their homes, offices and studios. So what solutions did you discuss at the forum?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The one thing we know is that urbanization is on the rise around the globe. So more and more people are moving into cities because they want the arts and culture the city has to offer, but land becomes more valuable. So it’s about how we create pathways of ownership for artists and arts organizations so they’re not forced to deal with the broader markets that tend to be more aggressive than artists can afford.\u003c/p>\n\u003cp>\u003cstrong>And how do you do that in San Francisco?\u003c/strong>\u003c/p>\n\u003cp>One of our great models is the \u003ca href=\"http://ww2.kqed.org/arts/2015/06/17/san-francisco-arts-groups-on-path-to-becoming-property-owners/\" target=\"_blank\" rel=\"noopener\">Community Arts Stabilization Trust\u003c/a>, (CAST) which has recently benefited from a seed gift from the \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a> of $5 million.\u003c/p>\n\u003cp>They’re also the organization working in partnership with the \u003ca href=\"http://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund\u003c/a> to stabilize those non-profits funded through $2 million through our Board of Supervisors and Mayor’s office.\u003c/p>\n\u003cp>\u003cstrong>Of course that doesn’t help the many individual artists who have lost their studios to a tech company. Any ideas from the forum that might help them?\u003c/strong>\u003c/p>\n\u003cp>One thing we’ve looked at locally, something other cities have had success with, is the zoning of space that is most conducive to artists. In the US and San Francisco that is referred to as PDR, or Production, Distribution and Repair space. So if you’ve wondered why artists often find studios in spaces that are near auto repair or warehouses, it’s because that’s usually zoned PDR. So one of the things we’re looking at here at the Arts Commission is how do we work with the Planning Department to ensure a good proportion of PDR, because that creates a market that artists can access. So the cost per square foot of that space tends to be lower. Other cities like London and Shanghai have found great success with equivalent zoning that protects space for artist use.\u003c/p>\n\u003cp>\u003cstrong>The Forum published a financial report this year comparing 24 of the cities in attendance. The reports says that San Francisco invests more than $100 per capita in arts and culture. A lot of that money comes from the hotel and restaurant tax. Meanwhile, Los Angeles invests just $11 per capita. What do you make of that disparity?\u003c/strong>\u003c/p>\n\u003cp>Well the electorate and elected officials in San Francisco have a real sense of the value of arts and culture, so they’ve made a decision that they want a public investment. And San Francisco leads the country in that regard.\u003c/p>\n\u003cp>\u003cstrong>And yet a lot of artists from San Francisco have sought refuge in LA because they can do their work and still find affordable rents.\u003c/strong>\u003c/p>\n\u003cp>That’s part of the reason we’ve seen an increase in our public investment in the arts in the past couple of years. So we have a non-profit displacement mitigation fund, which is helping many arts and culture organizations stay in the city, and most recently has helped a number of organizations renegotiate their leases.\u003c/p>\n\u003cp>\u003cstrong>I understand that London is facing a \u003ca href=\"http://www.theguardian.com/uk-news/2015/oct/20/save-londons-live-music-venues-city-wide-campaign-launched\" target=\"_blank\" rel=\"noopener\">music venue crisis\u003c/a>. The city has lost about a third of its clubs and music halls over the past five years. We’ve had similar threats in San Francisco, where people move into a neighborhood and then complain about the noise. What did you learn at the culture forum that might be applicable here?\u003c/strong>\u003c/p>\n\u003cp>Well London is looking at a number of solutions. And now they’ve put deed restrictions on units of new residential housing near historic music venues. It actually prevents the owner of that new residence from ever submitting a sound complaint against that music venue. I know we’ve had some legislation in San Francisco that is studying the sound impacts on residential development. But I think London is really leading the way.\u003c/p>\n\u003cp>\u003cstrong>San Francisco was the only Bay Area city to attend this global forum. Did you come away with any suggestions for cities like Oakland or San Jose which may be dealing with these same problems?\u003c/strong>\u003c/p>\n\u003cp>We really did represent the Bay Area. And I think there’s a call for greater regional planning. I’ve been working closely with my counterpart in San Jose, \u003ca href=\"http://www.sanjoseculture.org/index.aspx?NID=933\" target=\"_blank\" rel=\"noopener\">Kerry Adams Hapner\u003c/a>, the President of the \u003ca href=\"http://www.americansforthearts.org/by-program/networks-and-councils/united-states-urban-arts-federation\" target=\"_blank\" rel=\"noopener\">US Urban Arts Federation\u003c/a>, to insure how we can regionally make sure the the Bay Area remains an affordable place for artists.\u003c/p>\n\u003cp>\u003cstrong>Underlying the London forum was this idea of “creative placemaking,” where the arts are a key part of city policy. So what did you bring back from the forum to help maintain that ideal?\u003c/strong>\u003c/p>\n\u003cp>As important as creative placemaking can be to improving the quality of life of a city, I think we also have to be concerned with \u003cem>creative placekeeping\u003c/em>. It’s a term coined by \u003ca href=\"http://www.tucsonpimaartscouncil.org/\" target=\"_blank\" rel=\"noopener\">Roberto Bedoya of Tuscon-Pima Arts Council\u003c/a>, and it’s really about how do we insure as municipal governments that artists and arts organizations continue to thrive where they are. These are the people who have made our neighborhoods unique — that people want to come and be a part of. We want to welcome new people to the party, but we also want to make sure that they’re respectful of the people who made this city such a great place to live in and play in in the first place.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It may not seem that way if you’re an artist struggling to pay the rent, but San Francisco is one of the world’s leaders in supporting the arts.\u003c/p>\n\u003cp>Last weekend the San Francisco Arts Commission’s Cultural Affairs Director, Tom DeCaigny, joined delegates from 31 cities around the globe for the \u003ca href=\"http://www.worldcitiescultureforum.com/\" target=\"_blank\" rel=\"noopener\">World Cities Culture Forum \u003c/a>in London to discuss how civic leaders can keep economic growth from coming at the expense of a city’s cultural soul.\u003c/p>\n\u003cp>The forum was founded in London in conjunction with the 2012 Olympic Games, with the idea that as people gather in peace to celebrate sports, they should also acknowledge the way arts and culture do that same thing every day.\u003c/p>\n\u003cfigure id=\"attachment_11109244\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109244\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-800x503.jpg\" alt=\"San Francisco Cultural Affairs Director Tom DeCaigny\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-1180x742.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-1920x1207.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Tom-DeCaigny-e1448476424385-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Cultural Affairs Director Tom DeCaigny \u003ccite>(Photo: Cole Antestberger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KQED talked to DeCaigny about what he learned at the forum and what might make San Francisco and other cities around the Bay Area even more vibrant and harmonious.\u003c/p>\n\u003cp>\u003cstrong>The forum was trying to answer this big question: does a city’s growth come at the expense of its cultural soul? We’ve certainly seen this played out recently in San Francisco where the tech boom is pricing artists and arts groups out of their homes, offices and studios. So what solutions did you discuss at the forum?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The one thing we know is that urbanization is on the rise around the globe. So more and more people are moving into cities because they want the arts and culture the city has to offer, but land becomes more valuable. So it’s about how we create pathways of ownership for artists and arts organizations so they’re not forced to deal with the broader markets that tend to be more aggressive than artists can afford.\u003c/p>\n\u003cp>\u003cstrong>And how do you do that in San Francisco?\u003c/strong>\u003c/p>\n\u003cp>One of our great models is the \u003ca href=\"http://ww2.kqed.org/arts/2015/06/17/san-francisco-arts-groups-on-path-to-becoming-property-owners/\" target=\"_blank\" rel=\"noopener\">Community Arts Stabilization Trust\u003c/a>, (CAST) which has recently benefited from a seed gift from the \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a> of $5 million.\u003c/p>\n\u003cp>They’re also the organization working in partnership with the \u003ca href=\"http://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund\u003c/a> to stabilize those non-profits funded through $2 million through our Board of Supervisors and Mayor’s office.\u003c/p>\n\u003cp>\u003cstrong>Of course that doesn’t help the many individual artists who have lost their studios to a tech company. Any ideas from the forum that might help them?\u003c/strong>\u003c/p>\n\u003cp>One thing we’ve looked at locally, something other cities have had success with, is the zoning of space that is most conducive to artists. In the US and San Francisco that is referred to as PDR, or Production, Distribution and Repair space. So if you’ve wondered why artists often find studios in spaces that are near auto repair or warehouses, it’s because that’s usually zoned PDR. So one of the things we’re looking at here at the Arts Commission is how do we work with the Planning Department to ensure a good proportion of PDR, because that creates a market that artists can access. So the cost per square foot of that space tends to be lower. Other cities like London and Shanghai have found great success with equivalent zoning that protects space for artist use.\u003c/p>\n\u003cp>\u003cstrong>The Forum published a financial report this year comparing 24 of the cities in attendance. The reports says that San Francisco invests more than $100 per capita in arts and culture. A lot of that money comes from the hotel and restaurant tax. Meanwhile, Los Angeles invests just $11 per capita. What do you make of that disparity?\u003c/strong>\u003c/p>\n\u003cp>Well the electorate and elected officials in San Francisco have a real sense of the value of arts and culture, so they’ve made a decision that they want a public investment. And San Francisco leads the country in that regard.\u003c/p>\n\u003cp>\u003cstrong>And yet a lot of artists from San Francisco have sought refuge in LA because they can do their work and still find affordable rents.\u003c/strong>\u003c/p>\n\u003cp>That’s part of the reason we’ve seen an increase in our public investment in the arts in the past couple of years. So we have a non-profit displacement mitigation fund, which is helping many arts and culture organizations stay in the city, and most recently has helped a number of organizations renegotiate their leases.\u003c/p>\n\u003cp>\u003cstrong>I understand that London is facing a \u003ca href=\"http://www.theguardian.com/uk-news/2015/oct/20/save-londons-live-music-venues-city-wide-campaign-launched\" target=\"_blank\" rel=\"noopener\">music venue crisis\u003c/a>. The city has lost about a third of its clubs and music halls over the past five years. We’ve had similar threats in San Francisco, where people move into a neighborhood and then complain about the noise. What did you learn at the culture forum that might be applicable here?\u003c/strong>\u003c/p>\n\u003cp>Well London is looking at a number of solutions. And now they’ve put deed restrictions on units of new residential housing near historic music venues. It actually prevents the owner of that new residence from ever submitting a sound complaint against that music venue. I know we’ve had some legislation in San Francisco that is studying the sound impacts on residential development. But I think London is really leading the way.\u003c/p>\n\u003cp>\u003cstrong>San Francisco was the only Bay Area city to attend this global forum. Did you come away with any suggestions for cities like Oakland or San Jose which may be dealing with these same problems?\u003c/strong>\u003c/p>\n\u003cp>We really did represent the Bay Area. And I think there’s a call for greater regional planning. I’ve been working closely with my counterpart in San Jose, \u003ca href=\"http://www.sanjoseculture.org/index.aspx?NID=933\" target=\"_blank\" rel=\"noopener\">Kerry Adams Hapner\u003c/a>, the President of the \u003ca href=\"http://www.americansforthearts.org/by-program/networks-and-councils/united-states-urban-arts-federation\" target=\"_blank\" rel=\"noopener\">US Urban Arts Federation\u003c/a>, to insure how we can regionally make sure the the Bay Area remains an affordable place for artists.\u003c/p>\n\u003cp>\u003cstrong>Underlying the London forum was this idea of “creative placemaking,” where the arts are a key part of city policy. So what did you bring back from the forum to help maintain that ideal?\u003c/strong>\u003c/p>\n\u003cp>As important as creative placemaking can be to improving the quality of life of a city, I think we also have to be concerned with \u003cem>creative placekeeping\u003c/em>. It’s a term coined by \u003ca href=\"http://www.tucsonpimaartscouncil.org/\" target=\"_blank\" rel=\"noopener\">Roberto Bedoya of Tuscon-Pima Arts Council\u003c/a>, and it’s really about how do we insure as municipal governments that artists and arts organizations continue to thrive where they are. These are the people who have made our neighborhoods unique — that people want to come and be a part of. We want to welcome new people to the party, but we also want to make sure that they’re respectful of the people who made this city such a great place to live in and play in in the first place.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cy and David's Picks: Milk Carton Kids, a Jazz Memorial, and More",
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"content": "\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/234729920″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cfigure id=\"attachment_11109247\" class=\"wp-caption alignright\" style=\"max-width: 661px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\" alt=\"Milk Carton Kids\" width=\"661\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg 661w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607-400x214.jpg 400w\" sizes=\"(max-width: 661px) 100vw, 661px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Milk Carton Kids\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 1 & 2: \u003c/strong>\u003ca href=\"http://www.themilkcartonkids.com/\" target=\"_blank\" rel=\"noopener\">The Milk Carton Kids\u003c/a> are Joey Ryan and Kenneth Pattengale, neo-folkies from SoCal who sing gorgeously sad songs about lost dreams in close harmony. They sound like early Simon and Garfunkel, and banter like the Smothers Brothers. It’s a winning combination. Details here on their shows at \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=11747\" target=\"_blank\" rel=\"noopener\">the Palace of Fine Arts Theater\u003c/a> in San Francisco, and then the \u003ca href=\"http://www.uptowntheatrenapa.com/event/milk-carton-kids/\" target=\"_blank\" rel=\"noopener\">Uptown Theater\u003c/a> in Napa.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11109139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg\" alt=\"Wesla Whitfield and Orrin Keepnews\" width=\"640\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield and Orrin Keepnews \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 29:\u003c/strong> Orrin Keepnews was among the elite of jazz record producers, and he worked for many years reissuing dozens of terrific albums for Fantasy Records in Berkeley. He died last March and two of his favorite recording stars — Mike Greensill and his wife, singer Wesla Whitfield — are organizing a memorial concert for him at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> in Oakland, featuring Berkeley’s Dave Ellis and others, with proceeds going to the Orrin Keepnews Scholarship Fund at the California Jazz Conservatory. Greensill says, “He had impeccable taste, and he knew when something was right or not.” Details\u003ca href=\"http://www.yoshis.com/event/880177-orrin-keepnews-memorial-oakland/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Dec. 1 (through Dec. 27):\u003c/strong> Yes, it’s a musical about a serial killer, but \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=69FD65D4-00C0-49A1-81C3-75C94805A446\" target=\"_blank\" rel=\"noopener\">A Gentleman’s Guide to Love and Murder\u003c/a>\u003c/em> is more Gilbert and Sullivan than \u003cem>Sweeney Todd.\u003c/em> This 2014 Tony Award winner is a romp about a young man bumping off rivals for an Earlship (or is that Earldom) and trying to decide who holds the key to his heart: his mistress or his fiancée? Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=gentlemansguidetoloveandmurder&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cfigure id=\"attachment_11109251\" class=\"wp-caption alignright\" style=\"max-width: 964px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109251\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\" alt=\"Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from 'Handle with Care.'\" width=\"964\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg 964w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-960x640.jpg 960w\" sizes=\"(max-width: 964px) 100vw, 964px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from ‘Handle with Care.’ \u003ccite>(Photo: Susan Mah Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 20:\u003c/strong> \u003cem>Handle with Care is \u003c/em>a rare show on Bay Area stages, bilingual in English and Hebrew. It’s a comedy about what happens when a delivery service loses the body of a recently deceased Israeli grandmother, resulting in a cute meet-up between the Israeli granddaughter and a Jewish-American guy who happens to love Easter. Details\u003ca href=\"https://cltc.org/explore-our-2015-16-season/handle-with-care/\" target=\"_blank\" rel=\"noopener\"> here:\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 1:\u003c/strong> The Dandy Warhols have been regular visitors to the Bay Area since the band formed in Portland in 1994. Expect a good mix of older and younger fans, and older and newer songs including “Bohemian Like You.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D7TPxA5sp4I\u003c/p>\n\u003cp>The Dandy Warhols still deliver great psych rock and roll. Details \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12339\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 27 & 28:\u003c/strong> Cy’s shoutout is for our favorite sketch comedy troupe, \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">Killing My Lobste\u003c/a>r. They’re doing a show called \u003cem>Sketchprov! \u003c/em>at \u003ca href=\"http://www.pianofight.com/\" target=\"_blank\" rel=\"noopener\">Pianofight\u003c/a> in San Francisco. Laugh the calories off with jokes on relatives and overeating. Details \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 9:\u003c/strong> And David’s shoutout is for Stage Kiss, \u003ca href=\"http://www.sarahruhlplaywright.com/\" target=\"_blank\" rel=\"noopener\">Sarah Ruhl\u003c/a>‘s wonderful play about romance on and off the stage. The terrific Gabe Marin and Carrie Paff are the leads in this production at San Francisco Playhouse. Details \u003ca href=\"http://sfplayhouse.org/sfph/2015-2016-season/stage-kiss/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/234729920″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/234729920″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_11109247\" class=\"wp-caption alignright\" style=\"max-width: 661px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg\" alt=\"Milk Carton Kids\" width=\"661\" height=\"354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607.jpg 661w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Milk-Carton-e1448476654607-400x214.jpg 400w\" sizes=\"(max-width: 661px) 100vw, 661px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Milk Carton Kids\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 1 & 2: \u003c/strong>\u003ca href=\"http://www.themilkcartonkids.com/\" target=\"_blank\" rel=\"noopener\">The Milk Carton Kids\u003c/a> are Joey Ryan and Kenneth Pattengale, neo-folkies from SoCal who sing gorgeously sad songs about lost dreams in close harmony. They sound like early Simon and Garfunkel, and banter like the Smothers Brothers. It’s a winning combination. Details here on their shows at \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=11747\" target=\"_blank\" rel=\"noopener\">the Palace of Fine Arts Theater\u003c/a> in San Francisco, and then the \u003ca href=\"http://www.uptowntheatrenapa.com/event/milk-carton-kids/\" target=\"_blank\" rel=\"noopener\">Uptown Theater\u003c/a> in Napa.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11109139\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg\" alt=\"Wesla Whitfield and Orrin Keepnews\" width=\"640\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield and Orrin Keepnews \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 29:\u003c/strong> Orrin Keepnews was among the elite of jazz record producers, and he worked for many years reissuing dozens of terrific albums for Fantasy Records in Berkeley. He died last March and two of his favorite recording stars — Mike Greensill and his wife, singer Wesla Whitfield — are organizing a memorial concert for him at \u003ca href=\"http://www.yoshis.com/\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> in Oakland, featuring Berkeley’s Dave Ellis and others, with proceeds going to the Orrin Keepnews Scholarship Fund at the California Jazz Conservatory. Greensill says, “He had impeccable taste, and he knew when something was right or not.” Details\u003ca href=\"http://www.yoshis.com/event/880177-orrin-keepnews-memorial-oakland/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Dec. 1 (through Dec. 27):\u003c/strong> Yes, it’s a musical about a serial killer, but \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=69FD65D4-00C0-49A1-81C3-75C94805A446\" target=\"_blank\" rel=\"noopener\">A Gentleman’s Guide to Love and Murder\u003c/a>\u003c/em> is more Gilbert and Sullivan than \u003cem>Sweeney Todd.\u003c/em> This 2014 Tony Award winner is a romp about a young man bumping off rivals for an Earlship (or is that Earldom) and trying to decide who holds the key to his heart: his mistress or his fiancée? Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=gentlemansguidetoloveandmurder&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cfigure id=\"attachment_11109251\" class=\"wp-caption alignright\" style=\"max-width: 964px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11109251\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg\" alt=\"Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from 'Handle with Care.'\" width=\"964\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_.jpg 964w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/CityLights_HandleWithCare_-960x640.jpg 960w\" sizes=\"(max-width: 964px) 100vw, 964px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ayelet (Roneet Aliza Rahamim, right) consoles her grandmother Edna (Roberta J. Morris) in a scene from ‘Handle with Care.’ \u003ccite>(Photo: Susan Mah Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Dec. 20:\u003c/strong> \u003cem>Handle with Care is \u003c/em>a rare show on Bay Area stages, bilingual in English and Hebrew. It’s a comedy about what happens when a delivery service loses the body of a recently deceased Israeli grandmother, resulting in a cute meet-up between the Israeli granddaughter and a Jewish-American guy who happens to love Easter. Details\u003ca href=\"https://cltc.org/explore-our-2015-16-season/handle-with-care/\" target=\"_blank\" rel=\"noopener\"> here:\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 1:\u003c/strong> The Dandy Warhols have been regular visitors to the Bay Area since the band formed in Portland in 1994. Expect a good mix of older and younger fans, and older and newer songs including “Bohemian Like You.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/D7TPxA5sp4I'\n title='//www.youtube.com/embed/D7TPxA5sp4I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Dandy Warhols still deliver great psych rock and roll. Details \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12339\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 27 & 28:\u003c/strong> Cy’s shoutout is for our favorite sketch comedy troupe, \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">Killing My Lobste\u003c/a>r. They’re doing a show called \u003cem>Sketchprov! \u003c/em>at \u003ca href=\"http://www.pianofight.com/\" target=\"_blank\" rel=\"noopener\">Pianofight\u003c/a> in San Francisco. Laugh the calories off with jokes on relatives and overeating. Details \u003ca href=\"http://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 9:\u003c/strong> And David’s shoutout is for Stage Kiss, \u003ca href=\"http://www.sarahruhlplaywright.com/\" target=\"_blank\" rel=\"noopener\">Sarah Ruhl\u003c/a>‘s wonderful play about romance on and off the stage. The terrific Gabe Marin and Carrie Paff are the leads in this production at San Francisco Playhouse. Details \u003ca href=\"http://sfplayhouse.org/sfph/2015-2016-season/stage-kiss/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "three-plans-what-the-future-holds-for-the-palace-of-fine-arts",
"title": "Three Plans: What the Future Holds for the Palace of Fine Arts",
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"headTitle": "Three Plans: What the Future Holds for the Palace of Fine Arts | KQED",
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"content": "\u003cp>As the Palace of Fine Arts celebrates its centennial, the iconic space by San Francisco’s waterfront is to enter a new chapter. Three companies want to take over and renovate the palace, turning it from a gorgeous theater encased in an awe-inspiring park into a commercial destination that not only attracts visitors to the building; it keeps them there for as long as possible.\u003c/p>\n\u003cfigure id=\"attachment_11104330\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_%E2%80%94_Official_Views_Of_The_Worlds_Columbian_Exposition_%E2%80%94_61.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11104330\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_%E2%80%94_Official_Views_Of_The_Worlds_Columbian_Exposition_%E2%80%94_61-400x310.jpg\" alt=\"Interior of Palace of Fine Arts\" width=\"400\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-773x600.jpg 773w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-1180x916.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-1920x1490.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-960x745.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Interior of Palace of Fine Arts in 1915. \u003ccite>(C. D. Arnold and H. D. Higinbotham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The palace, which sits on the San Francisco Bay by the Golden Gate Bridge, has undergone many transformations since it was built as part of the \u003ca href=\"http://ww2.kqed.org/arts/series/1915-worlds-fair-celebration/\" target=\"_blank\" rel=\"noopener\">1915 Panama-Pacific Exposition\u003c/a>. Over the years, the building has housed everything from tennis courts to a telephone book distribution center. By the 1960s, the edifice had fallen into ruin, and was eventually rebuilt through the efforts of local residents and became the home of the Exploratorium, a science museum founded by Frank Oppenheimer in 1969.\u003c/p>\n\u003cp>After the Exploratorium moved out of the palace back in 2013, the San Francisco Recreation and Parks Commission (SF Rec and Parks), the governmental body that runs the palace, has been needing a new tenant. The commission requested proposals last year and by that November, an independent panel narrowed the field from seven to three finalists. The panel, made up of artists and community leaders, made their decisions based on factors such as public access, financials, and compatibility with the neighborhood.\u003c/p>\n\u003cp>The three final plans all incorporate commercial offerings like hotels and restaurants, but all proposals also include a performing arts space, as mandated by the commission.\u003c/p>\n\u003cfigure id=\"attachment_11107420\" class=\"wp-caption alignright\" style=\"max-width: 799px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107420\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD-799x600.jpg\" alt=\"Archival photo of the Palace of Fine Arts\" width=\"799\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD-799x600.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD.jpg 800w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Archival photo of the Palace of Fine Arts \u003ccite>(Courtesy: SFMAP Consortium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after the commission announced the three final proposals, \u003ca href=\"http://ww2.kqed.org/arts/2015/11/10/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts/\" target=\"_blank\" rel=\"noopener\">a local resident posted an online petition\u003c/a> calling on SF Rec and Parks to use the building exclusively as a cultural and educational center. The petition had garnered more than 20,000 signatures as of the end of last week, and many members of the public showed up at a meeting last Thursday to voice their concerns about the plans. The SF Rec and Parks commission listened to the comments before unanimously voting to continue its support of the three front-running proposals for the 150,000 square foot site.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We are pleased so many people are interested in the future of the Palace of Fine Arts and hope they stay engaged in the process,” says Sarah Madland, director of policy and public affairs for SF Rec and Parks, noting that the petition comes less than halfway through the Palace of Fine Arts’ six-year-long redevelopment period.\u003c/p>\n\u003cp>Whatever plan is chosen will be a boon for San Francisco, as it means increased revenues for the city. But the selected developer faces considerable challenges, as the cavernous building requires around $20 million in improvements to its seismic infrastructure and air conditioning system.\u003c/p>\n\u003cp>To better inform those following this process, we’ve broken down the each of the three proposals, excluding financial details — KQED inquired into the cost of each project, but Madland says the budget information is currently unavailable at this stage in the process.\u003c/p>\n\u003ch2>1. The Maybeck Center at the Palace of Fine Arts\u003c/h2>\n\u003cfigure id=\"attachment_11107308\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/PFA_interior.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107308\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/PFA_interior-598x600.jpg\" alt=\"Artist rendering of the redone Palace of Fine Arts, per the Maybeck Center plan\" width=\"598\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior.jpg 898w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the redone Palace of Fine Arts, per the Maybeck Center plan \u003ccite>(Courtesy: TMG partners)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The plan\u003c/strong>\u003cbr>\nNamed for the original architect of the building, Bernard Maybeck, the proposal includes an unspecified amount of lodging, a wedding chapel, eateries, a gym/spa, a live performance space, and historical and scientific exhibits. \u003ci>(\u003ca href=\"http://sfrecpark.org/wp-content/uploads/TMG-public_publish.pdf\" target=\"_blank\" rel=\"noopener\">Click here for PDF of the plan\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>The people behind it\u003cbr>\n\u003c/strong>Local developers TMG Partners and Flynn Properties are behind this proposal. The firms have worked on upscale projects like Landmark at One Market in San Francisco and the Emeryville Public Market. TMG Partners specializes in restoring historic buildings and putting them to new uses, as the firm did with \u003ca href=\"https://goo.gl/CrBKnj\" target=\"_blank\" rel=\"noopener\">1000 Van Ness\u003c/a>: the long-vacant Cadillac Building was acquired by TMG in 1997 and turned into a complex with a multiplex cinema, health club and luxury condominiums.\u003c/p>\n\u003cp>\u003cstrong>The skinny\u003c/strong>\u003cbr>\nThe plan proposes adding skylights and windows to the structure, creating an internal courtyard, and fixing up at least one of the historic fireplaces. The guest rooms will be built on and beneath a new mezzanine in a way that the full ceiling height remains in the central part of the building. The commission’s panel considered this project to be the most financially viable of the lot, which isn’t surprising considering the proposal’s high-end commercial aspirations. In addition, this project counts the venue’s previous long-term tenant, The Exploratorium, as a partner, which the company touts as a way to create a sense of continuity with the past.\u003c/p>\n\u003ch2>2. San Francisco Arts, Crafts, Community and Hospitality\u003c/h2>\n\u003cfigure id=\"attachment_11107312\" class=\"wp-caption alignright\" style=\"max-width: 755px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping-755x600.jpg\" alt=\"Artist rendering of the shopping area in ECB's proposal for Palace of Fine Arts\" width=\"755\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping-755x600.jpg 755w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping.jpg 800w\" sizes=\"(max-width: 755px) 100vw, 755px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the shopping area in ECB’s proposal for Palace of Fine Arts \u003ccite>(Courtesy: ECB)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The plan\u003c/strong>\u003cbr>\nThe proposal features a 174-room hotel and a grand public concourse with retail shops, cafes, studios, galleries, a cooking school, historical exhibits about the Palace of Fine Arts, a performing arts space and art installations. \u003ci>(\u003ca href=\"http://sfrecpark.org/wp-content/uploads/ECB-PFA-Proposal-PUBLIC.pdf\" target=\"_blank\" rel=\"noopener\">Click here for PDF of the plan\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>The people behind it\u003c/strong>\u003cbr>\nThis proposal is led by developer Equity Community Builders (ECB), which worked on Cavallo Point in Golden Gate National Park and American Conservatory Theater’s new Strand venue on Market Street. ECB also has extensive experience rehabilitating old buildings, like the $12.7-million \u003ca href=\"http://www.thoreau.org/san-francisco/history/index.html\">Thoreau Center for Sustainability\u003c/a> inside the Presidio’s \u003ca href=\"http://www.presidio.gov/explore/Pages/letterman-hospital-history-of-healing.aspx\" target=\"_blank\" rel=\"noopener\">Letterman Hospital\u003c/a>, which dates from 1846 and is part of the historic landmark run by the National Park Service.\u003c/p>\n\u003cp>\u003cstrong>The skinny\u003c/strong>\u003cbr>\nThe San Francisco Arts, Crafts, Community and Hospitality proposal mentions the Ferry Building as a model, so will likely offer visitors a similar style of boutiquey shopping and dining options. The plan emphasizes that a hotel can limit traffic and parking, and intends to direct guests exclusively through Marina Boulevard rather than the rest of the neighborhood. The proposed hotel in the Palace will be on the two mezzanine levels flanking the main concourse as to minimize the impact on the public space. Despite the commercial aspirations, the plan is also creative-minded: the developer has tapped public art maven Leslie Pritchett to head the project’s arts, crafts, and creativity program together with Melissa Alexander (previously of the Black Rock Arts Foundation and currently the Director of Public Programs at the Exploratorium.)\u003c/p>\n\u003ch2>3. San Francisco Museum At The Palace Consortium (SFMAP)\u003c/h2>\n\u003cfigure id=\"attachment_11107419\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SFMAP_Pic.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107419\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-800x476.jpg\" alt=\"Artist rendering of the Palace of Fine Arts\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-400x238.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-1920x1141.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic.jpg 1938w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the Palace of Fine Arts \u003ccite>(Courtesy: SFMAP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The plan\u003c/strong>\u003cbr>\nThe proposal centers on a new museum at the Palace of Fine Arts that delves into the history of San Francisco and the Bay Area, which will include an earthquake simulation theater. It also includes a public event space and a restaurant run by the Absinthe Group, known for the swanky Hayes Valley eateries Absinthe Brasserie and Boxing Room. \u003ci>(\u003ca href=\"http://sfrecpark.org/wp-content/uploads/SFMAP_Publish.pdf\" target=\"_blank\" rel=\"noopener\">Click here for PDF of the plan\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>The people behind it\u003c/strong>\u003cbr>\nBob and Ink Mendelsohn are spearheading this effort. The former is President and CEO of real estate developer Republic Metropolitan, and the latter, his wife, is a writer who used to work for the Smithsonian’s Office of Public Affairs. Their major San Francisco-based project together to date has been the renovation of the Old Mint building in downtown San Francisco, but they also have experience with museums: Bob Mendelsohn helped direct the design and construction of the Holocaust Memorial Museum in Washington D.C..\u003c/p>\n\u003cp>\u003cstrong>The skinny\u003c/strong>\u003cbr>\nThis proposal has the backing of a slew of local service providers such as the police, sheriff and emergency medical departments, public-minded local organizations like the Golden Gate National Parks Conservancy, and even big businesses like Chevron. But while the Mendelsohns have experience with museums, which strengthens their case, the plan is considered less well-organized financially than the previous two. Notably, the \u003ca href=\"http://sanfranciscomuseum.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum at the Mint\u003c/a> never got off the ground after eleven years, despite having a rent-free lease that entire time. (The organization was kicked out of the space last August without ever opening its doors.)\u003c/p>\n\u003cp>The three finalists were invited to submitted more-detailed proposals by May 20, 2016 based on a request for proposals that will be finalized by next month. SF Rec and Parks expects to reach a final decision in the next three years.\u003c/p>\n\u003cp>\u003cb>Learn More:\u003c/b>\u003c/p>\n\u003cp>Listen to a discussion about the future of The Palace of Fine Arts on KQED Forum \u003ca href=\"http://www.kqed.org/a/forum/R201511131030\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Read additional coverage of this story from KQED Arts \u003ca href=\"http://ww2.kqed.org/arts/2015/11/06/sf-parks-commission-looking-at-3-bids-for-palace-of-fine-arts-project/\" target=\"_blank\" rel=\"noopener\">here \u003c/a>and \u003ca href=\"http://ww2.kqed.org/arts/2015/11/10/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "KQED examines the three front-runner proposals for the development of the iconic San Francisco building.",
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"title": "Three Plans: What the Future Holds for the Palace of Fine Arts | KQED",
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"headline": "Three Plans: What the Future Holds for the Palace of Fine Arts",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the Palace of Fine Arts celebrates its centennial, the iconic space by San Francisco’s waterfront is to enter a new chapter. Three companies want to take over and renovate the palace, turning it from a gorgeous theater encased in an awe-inspiring park into a commercial destination that not only attracts visitors to the building; it keeps them there for as long as possible.\u003c/p>\n\u003cfigure id=\"attachment_11104330\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_%E2%80%94_Official_Views_Of_The_Worlds_Columbian_Exposition_%E2%80%94_61.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11104330\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_%E2%80%94_Official_Views_Of_The_Worlds_Columbian_Exposition_%E2%80%94_61-400x310.jpg\" alt=\"Interior of Palace of Fine Arts\" width=\"400\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-773x600.jpg 773w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-1180x916.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-1920x1490.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Interior_Of_Palace_Of_Fine_Arts_—_Official_Views_Of_The_Worlds_Columbian_Exposition_—_61-960x745.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Interior of Palace of Fine Arts in 1915. \u003ccite>(C. D. Arnold and H. D. Higinbotham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The palace, which sits on the San Francisco Bay by the Golden Gate Bridge, has undergone many transformations since it was built as part of the \u003ca href=\"http://ww2.kqed.org/arts/series/1915-worlds-fair-celebration/\" target=\"_blank\" rel=\"noopener\">1915 Panama-Pacific Exposition\u003c/a>. Over the years, the building has housed everything from tennis courts to a telephone book distribution center. By the 1960s, the edifice had fallen into ruin, and was eventually rebuilt through the efforts of local residents and became the home of the Exploratorium, a science museum founded by Frank Oppenheimer in 1969.\u003c/p>\n\u003cp>After the Exploratorium moved out of the palace back in 2013, the San Francisco Recreation and Parks Commission (SF Rec and Parks), the governmental body that runs the palace, has been needing a new tenant. The commission requested proposals last year and by that November, an independent panel narrowed the field from seven to three finalists. The panel, made up of artists and community leaders, made their decisions based on factors such as public access, financials, and compatibility with the neighborhood.\u003c/p>\n\u003cp>The three final plans all incorporate commercial offerings like hotels and restaurants, but all proposals also include a performing arts space, as mandated by the commission.\u003c/p>\n\u003cfigure id=\"attachment_11107420\" class=\"wp-caption alignright\" style=\"max-width: 799px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107420\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD-799x600.jpg\" alt=\"Archival photo of the Palace of Fine Arts\" width=\"799\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD-799x600.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Palace-of-Fine-artsOLD.jpg 800w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Archival photo of the Palace of Fine Arts \u003ccite>(Courtesy: SFMAP Consortium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after the commission announced the three final proposals, \u003ca href=\"http://ww2.kqed.org/arts/2015/11/10/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts/\" target=\"_blank\" rel=\"noopener\">a local resident posted an online petition\u003c/a> calling on SF Rec and Parks to use the building exclusively as a cultural and educational center. The petition had garnered more than 20,000 signatures as of the end of last week, and many members of the public showed up at a meeting last Thursday to voice their concerns about the plans. The SF Rec and Parks commission listened to the comments before unanimously voting to continue its support of the three front-running proposals for the 150,000 square foot site.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We are pleased so many people are interested in the future of the Palace of Fine Arts and hope they stay engaged in the process,” says Sarah Madland, director of policy and public affairs for SF Rec and Parks, noting that the petition comes less than halfway through the Palace of Fine Arts’ six-year-long redevelopment period.\u003c/p>\n\u003cp>Whatever plan is chosen will be a boon for San Francisco, as it means increased revenues for the city. But the selected developer faces considerable challenges, as the cavernous building requires around $20 million in improvements to its seismic infrastructure and air conditioning system.\u003c/p>\n\u003cp>To better inform those following this process, we’ve broken down the each of the three proposals, excluding financial details — KQED inquired into the cost of each project, but Madland says the budget information is currently unavailable at this stage in the process.\u003c/p>\n\u003ch2>1. The Maybeck Center at the Palace of Fine Arts\u003c/h2>\n\u003cfigure id=\"attachment_11107308\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/PFA_interior.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107308\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/PFA_interior-598x600.jpg\" alt=\"Artist rendering of the redone Palace of Fine Arts, per the Maybeck Center plan\" width=\"598\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-598x600.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PFA_interior.jpg 898w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the redone Palace of Fine Arts, per the Maybeck Center plan \u003ccite>(Courtesy: TMG partners)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The plan\u003c/strong>\u003cbr>\nNamed for the original architect of the building, Bernard Maybeck, the proposal includes an unspecified amount of lodging, a wedding chapel, eateries, a gym/spa, a live performance space, and historical and scientific exhibits. \u003ci>(\u003ca href=\"http://sfrecpark.org/wp-content/uploads/TMG-public_publish.pdf\" target=\"_blank\" rel=\"noopener\">Click here for PDF of the plan\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>The people behind it\u003cbr>\n\u003c/strong>Local developers TMG Partners and Flynn Properties are behind this proposal. The firms have worked on upscale projects like Landmark at One Market in San Francisco and the Emeryville Public Market. TMG Partners specializes in restoring historic buildings and putting them to new uses, as the firm did with \u003ca href=\"https://goo.gl/CrBKnj\" target=\"_blank\" rel=\"noopener\">1000 Van Ness\u003c/a>: the long-vacant Cadillac Building was acquired by TMG in 1997 and turned into a complex with a multiplex cinema, health club and luxury condominiums.\u003c/p>\n\u003cp>\u003cstrong>The skinny\u003c/strong>\u003cbr>\nThe plan proposes adding skylights and windows to the structure, creating an internal courtyard, and fixing up at least one of the historic fireplaces. The guest rooms will be built on and beneath a new mezzanine in a way that the full ceiling height remains in the central part of the building. The commission’s panel considered this project to be the most financially viable of the lot, which isn’t surprising considering the proposal’s high-end commercial aspirations. In addition, this project counts the venue’s previous long-term tenant, The Exploratorium, as a partner, which the company touts as a way to create a sense of continuity with the past.\u003c/p>\n\u003ch2>2. San Francisco Arts, Crafts, Community and Hospitality\u003c/h2>\n\u003cfigure id=\"attachment_11107312\" class=\"wp-caption alignright\" style=\"max-width: 755px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping-755x600.jpg\" alt=\"Artist rendering of the shopping area in ECB's proposal for Palace of Fine Arts\" width=\"755\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping-755x600.jpg 755w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ECB-PFA-Proposal-shoping.jpg 800w\" sizes=\"(max-width: 755px) 100vw, 755px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the shopping area in ECB’s proposal for Palace of Fine Arts \u003ccite>(Courtesy: ECB)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The plan\u003c/strong>\u003cbr>\nThe proposal features a 174-room hotel and a grand public concourse with retail shops, cafes, studios, galleries, a cooking school, historical exhibits about the Palace of Fine Arts, a performing arts space and art installations. \u003ci>(\u003ca href=\"http://sfrecpark.org/wp-content/uploads/ECB-PFA-Proposal-PUBLIC.pdf\" target=\"_blank\" rel=\"noopener\">Click here for PDF of the plan\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>The people behind it\u003c/strong>\u003cbr>\nThis proposal is led by developer Equity Community Builders (ECB), which worked on Cavallo Point in Golden Gate National Park and American Conservatory Theater’s new Strand venue on Market Street. ECB also has extensive experience rehabilitating old buildings, like the $12.7-million \u003ca href=\"http://www.thoreau.org/san-francisco/history/index.html\">Thoreau Center for Sustainability\u003c/a> inside the Presidio’s \u003ca href=\"http://www.presidio.gov/explore/Pages/letterman-hospital-history-of-healing.aspx\" target=\"_blank\" rel=\"noopener\">Letterman Hospital\u003c/a>, which dates from 1846 and is part of the historic landmark run by the National Park Service.\u003c/p>\n\u003cp>\u003cstrong>The skinny\u003c/strong>\u003cbr>\nThe San Francisco Arts, Crafts, Community and Hospitality proposal mentions the Ferry Building as a model, so will likely offer visitors a similar style of boutiquey shopping and dining options. The plan emphasizes that a hotel can limit traffic and parking, and intends to direct guests exclusively through Marina Boulevard rather than the rest of the neighborhood. The proposed hotel in the Palace will be on the two mezzanine levels flanking the main concourse as to minimize the impact on the public space. Despite the commercial aspirations, the plan is also creative-minded: the developer has tapped public art maven Leslie Pritchett to head the project’s arts, crafts, and creativity program together with Melissa Alexander (previously of the Black Rock Arts Foundation and currently the Director of Public Programs at the Exploratorium.)\u003c/p>\n\u003ch2>3. San Francisco Museum At The Palace Consortium (SFMAP)\u003c/h2>\n\u003cfigure id=\"attachment_11107419\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SFMAP_Pic.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11107419\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-800x476.jpg\" alt=\"Artist rendering of the Palace of Fine Arts\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-400x238.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-1920x1141.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMAP_Pic.jpg 1938w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the Palace of Fine Arts \u003ccite>(Courtesy: SFMAP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The plan\u003c/strong>\u003cbr>\nThe proposal centers on a new museum at the Palace of Fine Arts that delves into the history of San Francisco and the Bay Area, which will include an earthquake simulation theater. It also includes a public event space and a restaurant run by the Absinthe Group, known for the swanky Hayes Valley eateries Absinthe Brasserie and Boxing Room. \u003ci>(\u003ca href=\"http://sfrecpark.org/wp-content/uploads/SFMAP_Publish.pdf\" target=\"_blank\" rel=\"noopener\">Click here for PDF of the plan\u003c/a>)\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>The people behind it\u003c/strong>\u003cbr>\nBob and Ink Mendelsohn are spearheading this effort. The former is President and CEO of real estate developer Republic Metropolitan, and the latter, his wife, is a writer who used to work for the Smithsonian’s Office of Public Affairs. Their major San Francisco-based project together to date has been the renovation of the Old Mint building in downtown San Francisco, but they also have experience with museums: Bob Mendelsohn helped direct the design and construction of the Holocaust Memorial Museum in Washington D.C..\u003c/p>\n\u003cp>\u003cstrong>The skinny\u003c/strong>\u003cbr>\nThis proposal has the backing of a slew of local service providers such as the police, sheriff and emergency medical departments, public-minded local organizations like the Golden Gate National Parks Conservancy, and even big businesses like Chevron. But while the Mendelsohns have experience with museums, which strengthens their case, the plan is considered less well-organized financially than the previous two. Notably, the \u003ca href=\"http://sanfranciscomuseum.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum at the Mint\u003c/a> never got off the ground after eleven years, despite having a rent-free lease that entire time. (The organization was kicked out of the space last August without ever opening its doors.)\u003c/p>\n\u003cp>The three finalists were invited to submitted more-detailed proposals by May 20, 2016 based on a request for proposals that will be finalized by next month. SF Rec and Parks expects to reach a final decision in the next three years.\u003c/p>\n\u003cp>\u003cb>Learn More:\u003c/b>\u003c/p>\n\u003cp>Listen to a discussion about the future of The Palace of Fine Arts on KQED Forum \u003ca href=\"http://www.kqed.org/a/forum/R201511131030\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Read additional coverage of this story from KQED Arts \u003ca href=\"http://ww2.kqed.org/arts/2015/11/06/sf-parks-commission-looking-at-3-bids-for-palace-of-fine-arts-project/\" target=\"_blank\" rel=\"noopener\">here \u003c/a>and \u003ca href=\"http://ww2.kqed.org/arts/2015/11/10/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bay Area artist Amy Balkin doesn’t make paintings or sculptures, and she doesn’t have a photographic practice. In fact, you can’t see her artwork \u003cem>\u003ca href=\"http://www.publicsmog.org/\" target=\"_blank\" rel=\"noopener\">PUBLIC SMOG\u003c/a>\u003c/em> at all. But that doesn’t mean it’s not there.\u003c/p>\n\u003cp>\u003ci>PUBLIC SMOG\u003c/i> is a public park in the sky, created by buying carbon offsets. At a time when the air we breathe can be bought and sold on the free market, Balkin’s mind-bending conceptual art project seeks to protect that atmosphere by any means necessary — even if that means taking her case to the highest court in the land: the United Nations.\u003c/p>\n\u003cp>\u003cem>Listen to a discussion about \u003c/em>PUBLIC SMOG\u003cem> between artist Amy Balkin and KQED’s Sarah Hotchkiss:\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/234594089″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The ongoing artwork, currently on view in the form of the project’s paper trail and an accompanying slide show in the Mills College Art Museum’s exhibition \u003ci>\u003ca href=\"http://mcam.mills.edu/exhibitions/current5.php\" target=\"_blank\" rel=\"noopener\">Public Works: Artists’ Interventions 1970s – Now\u003c/a>\u003c/i>, began when Balkin started looking into carbon offsets, a trading scheme by which organizations or individuals can purchase credits to counter the negative environmental effects of their activities. Some carbon offsets fund renewable energy sources; others sponsor forestation projects. Regardless of their motives, all come under fire from some environmental groups as a quick method of alleviating carbon guilt without actually curtailing the sources of pollution.\u003c/p>\n\u003cfigure id=\"attachment_11105428\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105428\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/AmyReading.jpg\" alt=\"Amy Balkin, Stills from 'Reading the IPCC Synthesis Report: Summary for Policymakers,' 2008.\" width=\"1200\" height=\"378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-400x126.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-800x252.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-1180x372.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-960x302.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, Stills from ‘Reading the IPCC Synthesis Report: Summary for Policymakers,’ 2008. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Balkin first entered the emissions trading market and purchased the right to emit nitrogen oxide — a greenhouse gas — in Southern California. Instead of using those rights, she withheld them, making the offsets inaccessible to polluting industries and reserving that portion of the atmosphere as a “clean air park for the public.” Depending on the type of greenhouse gases the artist buys the rights to emit, the park manifests in different parts of the atmosphere. “The park isn’t something you can see,” Balkin says. “But it is something you can use.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But how exactly do you use a park you can’t physically access? Depending on which greenhouse gases Balkin buys the rights to emit, the park manifests in different parts of the atmosphere. Nitrogen oxides, sulfur dioxide and ozone all contribute to smog in the troposphere — or in the language of \u003ci>PUBLIC SMOG\u003c/i>, the “Lower Park.” Carbon dioxide, methane and nitrous oxide are the greenhouse gases of the stratosphere — aka the “Upper Park.”\u003c/p>\n\u003cp>Balkin lists the benefits of opening each park (that is, buying certain offsets) with a playful upswing in her voice. “The Lower Park features particulate-free breathing and lower risk athletic activity,” she says. “And the Upper Park activities include the ongoing enjoyment of glaciers, birds, plants, islands and coastal areas.”\u003c/p>\n\u003cp>Even if you personally can’t get to a glacier during a park’s open hours, know that someone, somewhere — maybe a polar bear — is enjoying its continued existence.\u003c/p>\n\u003cfigure id=\"attachment_11107443\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11107443\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/PublicSmogCube.jpg\" alt=\"Amy Balkin, Image from 'PUBLIC SMOG,' 2004 – ongoing.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, Image from ‘PUBLIC SMOG,’ 2004 – ongoing. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Balkin has long been interested in what happens when land, water and air become commodities — and how people become dispossessed from their own environments. \u003ci>\u003ca href=\"http://sinkingandmelting.tumblr.com/\" target=\"_blank\" rel=\"noopener\">A People’s Archive of Sinking and Melting\u003c/a>\u003c/i>, one of the artist’s ongoing projects, gathers items from places around the world that may disappear due to the effects of climate change. In the collection, the abstract facts and figures of rising sea levels, coastal erosion and desertification become personal stories illustrated by hand-picked mementos. \u003ci>\u003ca href=\"http://www.thisisthepublicdomain.org/\" target=\"_blank\" rel=\"noopener\">This is the Public Domain\u003c/a>\u003c/i>, also ongoing, attempts to create a permanent international commons, free to all forever, on 2.64 acres of land near Mojave, CA. And \u003ci>\u003ca href=\"http://www.invisible5.org/\" target=\"_blank\" rel=\"noopener\">Invisible-5\u003c/a>\u003c/i>, an audio tour of Interstate 5 from 2006, tells the stories of communities along the highly polluted corridor and their struggle for environmental justice.\u003c/p>\n\u003cp>Acknowledging the satirical aspects of \u003ci>PUBLIC SMOG\u003c/i>, Balkin is also quick to point out the serious environmental implications of the project. “It opens up a way for rethinking atmosphere, and a way for helping to remember the atmosphere. We’re breathing it, but we might not be visualizing it, or thinking about what that pollution looks like or its impacts.”\u003c/p>\n\u003cfigure id=\"attachment_11105434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/AmyBillboard.jpg\" alt=\"Amy Balkin, PUBLIC SMOG IS NO SUBSTITUTE FOR DIRECT ACTION, Billboard, Bonamoussadi, Douala, Cameroon, 2009.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, PUBLIC SMOG IS NO SUBSTITUTE FOR DIRECT ACTION, Billboard, Bonamoussadi, Douala, Cameroon, 2009. \u003ccite>(Photo: Benoît Mangin, courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Balkin last opened a clean air park for five months in 2010. Since then, the project has morphed into a different kind of campaign: a political one. The artist is now hard at work trying to get Earth’s atmosphere inscribed on \u003ca href=\"http://whc.unesco.org/en/list/\" target=\"_blank\" rel=\"noopener\">UNESCO’s World Heritage List\u003c/a>.\u003c/p>\n\u003cp>UNESCO deems sites on the list to have “outstanding universal value” and each site must meet at least one of 10 superlative-heavy criteria. Today, the World Heritage List includes 1,031 properties, ranging from historic Cairo to the Bikini Atoll Nuclear Test Site to California’s Redwood parks.\u003c/p>\n\u003cp>Balkin’s bid to get the atmosphere on the list gained momentum with her participation in \u003ci>documenta\u003c/i>, a high-profile international art exhibition in Kassel, Germany that takes place every five years. When Germany said no to backing Balkin’s bid to UNESCO, her installation at \u003ci>dOCUMENTA(13)\u003c/i> spawned a postcard-writing campaign, with 100,000 visitors from around the world sending letters to their governments in support of the atmosphere’s place on the World Heritage List.\u003c/p>\n\u003cfigure id=\"attachment_11105430\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105430\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024.jpg\" alt=\"Amy Balkin, 'Public Smog: Earth's Atmosphere as UNESCO World Heritage Preserve,' Postcard, 2012.\" width=\"1024\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024-960x720.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, ‘Public Smog: Earth’s Atmosphere as UNESCO World Heritage Preserve,’ Postcard, 2012. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While any country able to back the bid has yet to volunteer — the only positive response came from the Kingdom of Tonga, an archipelago in the South Pacific dealing with rising sea levels — Balkin points out that all properties currently inscribed on the World Heritage List, whether they’re tangible or intangible, will succumb to the effects of climate change if atmospheric pollution isn’t addressed. “There’s a fundamental reflexive opportunity there,” Balkin says.\u003c/p>\n\u003cp>Tanya Zimbardo, co-curator with Christian L. Frock of the Mills College \u003ci>Public Works\u003c/i> exhibition, says they wanted to include \u003ci>PUBLIC SMOG\u003c/i> because it’s both invisible and ubiquitous, impossible to ignore. “Some works in the show are focused on more traditional ideas of public space, plazas or street corners,” Zimbardo says. “This is something that is much more. This is thinking about a larger sense of borders or lack of borders, something that is different at different moments.”\u003c/p>\n\u003cfigure id=\"attachment_11105429\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105429\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/AmyMills.jpg\" alt=\"Amy Balkin, Installation view at Mills College Art Museum of 'PUBLIC SMOG,' 2004 – ongoing.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, Installation view at Mills College Art Museum of ‘PUBLIC SMOG,’ 2004 – ongoing. \u003ccite>(Courtesy: MCAM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of art’s capacities is to expand possibility. It’s to help think through problems of living,” Balkin says. The \u003ca href=\"http://www.cop21.gouv.fr/en/\" target=\"_blank\" rel=\"noopener\">United Nations conference on climate change\u003c/a> begins next week in Paris. And while the world’s leaders will float various schemes, goals and proposals in an attempt to slow the devastating effects of climate change, in the meantime we have \u003ci>PUBLIC SMOG\u003c/i>, another model for what might be.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cstrong>Public Works: Artists’ Interventions 1970s – Now\u003c/strong>\u003c/i> is on view at the Mills College Art Museum in Oakland through Dec. 13, 2015. Visit \u003ca href=\"http://mcam.mills.edu/exhibitions/current5.php\" target=\"_blank\" rel=\"noopener\">mcam.mills.edu\u003c/a> for more information.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area artist Amy Balkin doesn’t make paintings or sculptures, and she doesn’t have a photographic practice. In fact, you can’t see her artwork \u003cem>\u003ca href=\"http://www.publicsmog.org/\" target=\"_blank\" rel=\"noopener\">PUBLIC SMOG\u003c/a>\u003c/em> at all. But that doesn’t mean it’s not there.\u003c/p>\n\u003cp>\u003ci>PUBLIC SMOG\u003c/i> is a public park in the sky, created by buying carbon offsets. At a time when the air we breathe can be bought and sold on the free market, Balkin’s mind-bending conceptual art project seeks to protect that atmosphere by any means necessary — even if that means taking her case to the highest court in the land: the United Nations.\u003c/p>\n\u003cp>\u003cem>Listen to a discussion about \u003c/em>PUBLIC SMOG\u003cem> between artist Amy Balkin and KQED’s Sarah Hotchkiss:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/234594089″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/234594089″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The ongoing artwork, currently on view in the form of the project’s paper trail and an accompanying slide show in the Mills College Art Museum’s exhibition \u003ci>\u003ca href=\"http://mcam.mills.edu/exhibitions/current5.php\" target=\"_blank\" rel=\"noopener\">Public Works: Artists’ Interventions 1970s – Now\u003c/a>\u003c/i>, began when Balkin started looking into carbon offsets, a trading scheme by which organizations or individuals can purchase credits to counter the negative environmental effects of their activities. Some carbon offsets fund renewable energy sources; others sponsor forestation projects. Regardless of their motives, all come under fire from some environmental groups as a quick method of alleviating carbon guilt without actually curtailing the sources of pollution.\u003c/p>\n\u003cfigure id=\"attachment_11105428\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105428\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/AmyReading.jpg\" alt=\"Amy Balkin, Stills from 'Reading the IPCC Synthesis Report: Summary for Policymakers,' 2008.\" width=\"1200\" height=\"378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-400x126.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-800x252.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-1180x372.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyReading-960x302.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, Stills from ‘Reading the IPCC Synthesis Report: Summary for Policymakers,’ 2008. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Balkin first entered the emissions trading market and purchased the right to emit nitrogen oxide — a greenhouse gas — in Southern California. Instead of using those rights, she withheld them, making the offsets inaccessible to polluting industries and reserving that portion of the atmosphere as a “clean air park for the public.” Depending on the type of greenhouse gases the artist buys the rights to emit, the park manifests in different parts of the atmosphere. “The park isn’t something you can see,” Balkin says. “But it is something you can use.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But how exactly do you use a park you can’t physically access? Depending on which greenhouse gases Balkin buys the rights to emit, the park manifests in different parts of the atmosphere. Nitrogen oxides, sulfur dioxide and ozone all contribute to smog in the troposphere — or in the language of \u003ci>PUBLIC SMOG\u003c/i>, the “Lower Park.” Carbon dioxide, methane and nitrous oxide are the greenhouse gases of the stratosphere — aka the “Upper Park.”\u003c/p>\n\u003cp>Balkin lists the benefits of opening each park (that is, buying certain offsets) with a playful upswing in her voice. “The Lower Park features particulate-free breathing and lower risk athletic activity,” she says. “And the Upper Park activities include the ongoing enjoyment of glaciers, birds, plants, islands and coastal areas.”\u003c/p>\n\u003cp>Even if you personally can’t get to a glacier during a park’s open hours, know that someone, somewhere — maybe a polar bear — is enjoying its continued existence.\u003c/p>\n\u003cfigure id=\"attachment_11107443\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11107443\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/PublicSmogCube.jpg\" alt=\"Amy Balkin, Image from 'PUBLIC SMOG,' 2004 – ongoing.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/PublicSmogCube-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, Image from ‘PUBLIC SMOG,’ 2004 – ongoing. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Balkin has long been interested in what happens when land, water and air become commodities — and how people become dispossessed from their own environments. \u003ci>\u003ca href=\"http://sinkingandmelting.tumblr.com/\" target=\"_blank\" rel=\"noopener\">A People’s Archive of Sinking and Melting\u003c/a>\u003c/i>, one of the artist’s ongoing projects, gathers items from places around the world that may disappear due to the effects of climate change. In the collection, the abstract facts and figures of rising sea levels, coastal erosion and desertification become personal stories illustrated by hand-picked mementos. \u003ci>\u003ca href=\"http://www.thisisthepublicdomain.org/\" target=\"_blank\" rel=\"noopener\">This is the Public Domain\u003c/a>\u003c/i>, also ongoing, attempts to create a permanent international commons, free to all forever, on 2.64 acres of land near Mojave, CA. And \u003ci>\u003ca href=\"http://www.invisible5.org/\" target=\"_blank\" rel=\"noopener\">Invisible-5\u003c/a>\u003c/i>, an audio tour of Interstate 5 from 2006, tells the stories of communities along the highly polluted corridor and their struggle for environmental justice.\u003c/p>\n\u003cp>Acknowledging the satirical aspects of \u003ci>PUBLIC SMOG\u003c/i>, Balkin is also quick to point out the serious environmental implications of the project. “It opens up a way for rethinking atmosphere, and a way for helping to remember the atmosphere. We’re breathing it, but we might not be visualizing it, or thinking about what that pollution looks like or its impacts.”\u003c/p>\n\u003cfigure id=\"attachment_11105434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/AmyBillboard.jpg\" alt=\"Amy Balkin, PUBLIC SMOG IS NO SUBSTITUTE FOR DIRECT ACTION, Billboard, Bonamoussadi, Douala, Cameroon, 2009.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyBillboard-960x720.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, PUBLIC SMOG IS NO SUBSTITUTE FOR DIRECT ACTION, Billboard, Bonamoussadi, Douala, Cameroon, 2009. \u003ccite>(Photo: Benoît Mangin, courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Balkin last opened a clean air park for five months in 2010. Since then, the project has morphed into a different kind of campaign: a political one. The artist is now hard at work trying to get Earth’s atmosphere inscribed on \u003ca href=\"http://whc.unesco.org/en/list/\" target=\"_blank\" rel=\"noopener\">UNESCO’s World Heritage List\u003c/a>.\u003c/p>\n\u003cp>UNESCO deems sites on the list to have “outstanding universal value” and each site must meet at least one of 10 superlative-heavy criteria. Today, the World Heritage List includes 1,031 properties, ranging from historic Cairo to the Bikini Atoll Nuclear Test Site to California’s Redwood parks.\u003c/p>\n\u003cp>Balkin’s bid to get the atmosphere on the list gained momentum with her participation in \u003ci>documenta\u003c/i>, a high-profile international art exhibition in Kassel, Germany that takes place every five years. When Germany said no to backing Balkin’s bid to UNESCO, her installation at \u003ci>dOCUMENTA(13)\u003c/i> spawned a postcard-writing campaign, with 100,000 visitors from around the world sending letters to their governments in support of the atmosphere’s place on the World Heritage List.\u003c/p>\n\u003cfigure id=\"attachment_11105430\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105430\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024.jpg\" alt=\"Amy Balkin, 'Public Smog: Earth's Atmosphere as UNESCO World Heritage Preserve,' Postcard, 2012.\" width=\"1024\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/publicsmog_d13_postcards_1024-960x720.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, ‘Public Smog: Earth’s Atmosphere as UNESCO World Heritage Preserve,’ Postcard, 2012. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While any country able to back the bid has yet to volunteer — the only positive response came from the Kingdom of Tonga, an archipelago in the South Pacific dealing with rising sea levels — Balkin points out that all properties currently inscribed on the World Heritage List, whether they’re tangible or intangible, will succumb to the effects of climate change if atmospheric pollution isn’t addressed. “There’s a fundamental reflexive opportunity there,” Balkin says.\u003c/p>\n\u003cp>Tanya Zimbardo, co-curator with Christian L. Frock of the Mills College \u003ci>Public Works\u003c/i> exhibition, says they wanted to include \u003ci>PUBLIC SMOG\u003c/i> because it’s both invisible and ubiquitous, impossible to ignore. “Some works in the show are focused on more traditional ideas of public space, plazas or street corners,” Zimbardo says. “This is something that is much more. This is thinking about a larger sense of borders or lack of borders, something that is different at different moments.”\u003c/p>\n\u003cfigure id=\"attachment_11105429\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11105429\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/AmyMills.jpg\" alt=\"Amy Balkin, Installation view at Mills College Art Museum of 'PUBLIC SMOG,' 2004 – ongoing.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/AmyMills-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Amy Balkin, Installation view at Mills College Art Museum of ‘PUBLIC SMOG,’ 2004 – ongoing. \u003ccite>(Courtesy: MCAM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of art’s capacities is to expand possibility. It’s to help think through problems of living,” Balkin says. The \u003ca href=\"http://www.cop21.gouv.fr/en/\" target=\"_blank\" rel=\"noopener\">United Nations conference on climate change\u003c/a> begins next week in Paris. And while the world’s leaders will float various schemes, goals and proposals in an attempt to slow the devastating effects of climate change, in the meantime we have \u003ci>PUBLIC SMOG\u003c/i>, another model for what might be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cstrong>Public Works: Artists’ Interventions 1970s – Now\u003c/strong>\u003c/i> is on view at the Mills College Art Museum in Oakland through Dec. 13, 2015. Visit \u003ca href=\"http://mcam.mills.edu/exhibitions/current5.php\" target=\"_blank\" rel=\"noopener\">mcam.mills.edu\u003c/a> for more information.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Homicide investigators with the Oakland Police Department today confirmed that the firearm used in the Sept. 29 fatal shooting of muralist Antonio Ramos had been stolen, and belonged to a U.S. Immigration and Customs Enforcement agent.\u003c/p>\n\u003cp>“The firearm used in the murder of Antonio Ramos on September 29, 2015 was reported as property taken in a burglary,” OPD spokesperson Johnna Watson noted in a statement sent to reporters. “The stolen firearm is associated with the Federal Agency, Department of Homeland Security (ICE).”\u003c/p>\n\u003cp>In a separate statement, ICE confirmed that a firearm was stolen from an ICE agent’s vehicle in San Francisco on Sept. 13.\u003c/p>\n\u003cp>“A duty weapon belonging to an officer with U.S. Immigration and Customs Enforcement's (ICE) Enforcement and Removal Operations (ERO) was stolen Sept. 13 in San Francisco from a vehicle being used by the officer,” James Schwab, an ICE spokesman in San Francisco, wrote in an emailed statement to KQED News in response to questions about the stolen firearm used in the Ramos shooting.\u003c/p>\n\u003cp>“The theft was properly reported to local authorities and through official federal channels,” Schwab added. “The matter is currently under investigation by ICE's Office of Professional Responsibility.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ramos, 27, was \u003ca href=\"http://ww2.kqed.org/arts/2015/09/29/artist-shot-killed-while-working-on-west-oakland-community-mural/\">gunned down in West Oakland \u003c/a>while working on a mural project on the 2500 block of West Street beneath a freeway overpass. The community art project was sponsored by Attitudinal Healing Connection of Oakland, a nonprofit with a mission of breaking cycles of violence through creativity and education.\u003c/p>\n\u003cp>OPD announced Tuesday that it had made an arrest in the Ramos killing, and would charge \u003ca href=\"http://ww2.kqed.org/news/2015/11/24/oakland-man-20-charged-with-murder-in-killing-of-muralist\" target=\"_blank\">20-year-old Marquise Holloway with murder\u003c/a> and multiple counts of robbery.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfgate.com/news/article/Gun-used-to-kill-Oakland-muralist-traced-to-ICE-6657172.php?cmpid=brknow\" target=\"_blank\">San Francisco Chronicle\u003c/a> reported that the gun used to kill Ramos was a Glock 26 pistol, and that the 9mm firearm had been stolen from a rental car parked at Second and South Park streets by two ICE agents visiting from out of town.\u003c/p>\n\u003cp>This marks the second high-profile Bay Area shooting in the past six months to be linked to the theft of a firearm from a federal agent’s vehicle.\u003c/p>\n\u003cp>In July, 32-year-old Kate Steinle was shot and killed while walking with her father along San Francisco’s crowded Pier 14. The case touched off a national media firestorm because \u003ca href=\"http://ww2.kqed.org/news/2015/09/04/accused-pier-14-shooter-to-face-murder-charges-at-trial\">suspect Juan Francisco Lopez-Sanchez\u003c/a> was released from the custody of the San Francisco Sheriff's Department instead of being turned over to ICE custody.\u003c/p>\n\u003cp>Steinle's family is pursing legal action against the San Francisco Sheriff's Department and ICE -- but is also suing the federal Bureau of Land Management, alleging a ranger failed to properly secure the handgun when it was stolen from his car parked in San Francisco four days before Steinle was shot.\u003c/p>\n\u003cp>Nor were these the only recorded gun thefts. A recent NBC Bay Area investigation revealed that \u003ca href=\"http://www.nbcbayarea.com/investigations/Unaccounted-For-Hundreds-of-Guns-Lost-or-Stolen-From-Bay-Area-Police-Agencies-Since-2010-350768311.html%20since%202010\">more than 500 weapons had gone missing\u003c/a> from eight different Bay Area law enforcement agencies.\u003c/p>\n\u003cp>On Nov. 19 a San Francisco Board of Supervisors committee held a hearing on \u003ca href=\"http://ww2.kqed.org/news/2015/09/22/campos-to-float-legislation-to-address-pier-14-shooting-uphold-sanctuary-city\">proposed legislation\u003c/a> aimed at preventing gun theft from vehicles parked in the city.\u003c/p>\n\u003cp>Supervisor David Campos, who authored the legislation, had initially crafted it to apply only to off-duty law enforcement officers employed by the city and county. However, he expanded the proposal to address all cases where firearms could potentially be left unsecured in vehicles.\u003c/p>\n\u003cp>“It would be the first law in the city and county of San Francisco that would say that if you leave a firearm in your vehicle, there are certain things that you have to do to make sure that the firearm does not end up in the wrong hands,” Campos told KQED’s Tara Siler in a recent interview.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If the trunk is an enclosed space in the vehicle, you can leave it in the trunk, locked. But if not, then you have to put it in a lock box. This law … addresses what we know is a trend, not only in the Bay Area but also in the rest of the country, where you have a lot of firearms that have been stolen from these vehicles. And they end up being used in pretty heinous crimes.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Homicide investigators with the Oakland Police Department today confirmed that the firearm used in the Sept. 29 fatal shooting of muralist Antonio Ramos had been stolen, and belonged to a U.S. Immigration and Customs Enforcement agent.\u003c/p>\n\u003cp>“The firearm used in the murder of Antonio Ramos on September 29, 2015 was reported as property taken in a burglary,” OPD spokesperson Johnna Watson noted in a statement sent to reporters. “The stolen firearm is associated with the Federal Agency, Department of Homeland Security (ICE).”\u003c/p>\n\u003cp>In a separate statement, ICE confirmed that a firearm was stolen from an ICE agent’s vehicle in San Francisco on Sept. 13.\u003c/p>\n\u003cp>“A duty weapon belonging to an officer with U.S. Immigration and Customs Enforcement's (ICE) Enforcement and Removal Operations (ERO) was stolen Sept. 13 in San Francisco from a vehicle being used by the officer,” James Schwab, an ICE spokesman in San Francisco, wrote in an emailed statement to KQED News in response to questions about the stolen firearm used in the Ramos shooting.\u003c/p>\n\u003cp>“The theft was properly reported to local authorities and through official federal channels,” Schwab added. “The matter is currently under investigation by ICE's Office of Professional Responsibility.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ramos, 27, was \u003ca href=\"http://ww2.kqed.org/arts/2015/09/29/artist-shot-killed-while-working-on-west-oakland-community-mural/\">gunned down in West Oakland \u003c/a>while working on a mural project on the 2500 block of West Street beneath a freeway overpass. The community art project was sponsored by Attitudinal Healing Connection of Oakland, a nonprofit with a mission of breaking cycles of violence through creativity and education.\u003c/p>\n\u003cp>OPD announced Tuesday that it had made an arrest in the Ramos killing, and would charge \u003ca href=\"http://ww2.kqed.org/news/2015/11/24/oakland-man-20-charged-with-murder-in-killing-of-muralist\" target=\"_blank\">20-year-old Marquise Holloway with murder\u003c/a> and multiple counts of robbery.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfgate.com/news/article/Gun-used-to-kill-Oakland-muralist-traced-to-ICE-6657172.php?cmpid=brknow\" target=\"_blank\">San Francisco Chronicle\u003c/a> reported that the gun used to kill Ramos was a Glock 26 pistol, and that the 9mm firearm had been stolen from a rental car parked at Second and South Park streets by two ICE agents visiting from out of town.\u003c/p>\n\u003cp>This marks the second high-profile Bay Area shooting in the past six months to be linked to the theft of a firearm from a federal agent’s vehicle.\u003c/p>\n\u003cp>In July, 32-year-old Kate Steinle was shot and killed while walking with her father along San Francisco’s crowded Pier 14. The case touched off a national media firestorm because \u003ca href=\"http://ww2.kqed.org/news/2015/09/04/accused-pier-14-shooter-to-face-murder-charges-at-trial\">suspect Juan Francisco Lopez-Sanchez\u003c/a> was released from the custody of the San Francisco Sheriff's Department instead of being turned over to ICE custody.\u003c/p>\n\u003cp>Steinle's family is pursing legal action against the San Francisco Sheriff's Department and ICE -- but is also suing the federal Bureau of Land Management, alleging a ranger failed to properly secure the handgun when it was stolen from his car parked in San Francisco four days before Steinle was shot.\u003c/p>\n\u003cp>Nor were these the only recorded gun thefts. A recent NBC Bay Area investigation revealed that \u003ca href=\"http://www.nbcbayarea.com/investigations/Unaccounted-For-Hundreds-of-Guns-Lost-or-Stolen-From-Bay-Area-Police-Agencies-Since-2010-350768311.html%20since%202010\">more than 500 weapons had gone missing\u003c/a> from eight different Bay Area law enforcement agencies.\u003c/p>\n\u003cp>On Nov. 19 a San Francisco Board of Supervisors committee held a hearing on \u003ca href=\"http://ww2.kqed.org/news/2015/09/22/campos-to-float-legislation-to-address-pier-14-shooting-uphold-sanctuary-city\">proposed legislation\u003c/a> aimed at preventing gun theft from vehicles parked in the city.\u003c/p>\n\u003cp>Supervisor David Campos, who authored the legislation, had initially crafted it to apply only to off-duty law enforcement officers employed by the city and county. However, he expanded the proposal to address all cases where firearms could potentially be left unsecured in vehicles.\u003c/p>\n\u003cp>“It would be the first law in the city and county of San Francisco that would say that if you leave a firearm in your vehicle, there are certain things that you have to do to make sure that the firearm does not end up in the wrong hands,” Campos told KQED’s Tara Siler in a recent interview.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If the trunk is an enclosed space in the vehicle, you can leave it in the trunk, locked. But if not, then you have to put it in a lock box. This law … addresses what we know is a trend, not only in the Bay Area but also in the rest of the country, where you have a lot of firearms that have been stolen from these vehicles. And they end up being used in pretty heinous crimes.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sophie Sartain had long worked in documentary filmmaking as a writer and editor. For her first film as a director, she turned the camera on her own family.\u003c/p>\n\u003cp>Starting in 2009, she began filming her grandmother Mimi, then 92, who had cared for Sartain's aunt, Dona, for decades. Dona has an intellectual disability and \"perhaps some undiagnosed autism,\" Sartain says. From there the film \u003cem>\u003ca href=\"http://www.pbs.org/independentlens/films/mimi-and-dona/\" target=\"_blank\">Mimi and Dona\u003c/a>\u003c/em> was born. It was released earlier this week on PBS' \u003ca href=\"http://www.pbs.org/independentlens/films/mimi-and-dona/\" target=\"_blank\">\u003cem>Independent Lens\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Sartain's grandmother was a \"wonderful moving presence\" who selflessly devoted herself to caring for her daughter. \"Could I be like that?\" Sartain wondered. \"I'm not that good, I'm not that unselfish. How could I measure up to Mimi?\"\u003c/p>\n\u003cp>But soon she would discover how her own path would overlap with that of her grandmother. \"It was during filming that I started to fear my own son might have autism,\" Sartain says. \"And I wondered if I was just beginning a journey that Mimi had just ended.\"\u003c/p>\n\u003cp>Her son Ben was diagnosed with autism. Sartain says she saw how her grandmother could be a role model for her and created this second, shorter, documentary, \u003cem>Sophie and Ben\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Mimi and Dona\u003ca href=\"http://video.pbs.org/video/2365601272/\" target=\"_blank\"> is streaming online through Dec. 23, 2015.\u003c/a> \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can learn more about the film and filmmaker Sophie Sartain by visiting \u003ca href=\"http://www.pbs.org/independentlens/films/mimi-and-dona/\" target=\"_blank\">Independent Lens\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sophie Sartain had long worked in documentary filmmaking as a writer and editor. For her first film as a director, she turned the camera on her own family.\u003c/p>\n\u003cp>Starting in 2009, she began filming her grandmother Mimi, then 92, who had cared for Sartain's aunt, Dona, for decades. Dona has an intellectual disability and \"perhaps some undiagnosed autism,\" Sartain says. From there the film \u003cem>\u003ca href=\"http://www.pbs.org/independentlens/films/mimi-and-dona/\" target=\"_blank\">Mimi and Dona\u003c/a>\u003c/em> was born. It was released earlier this week on PBS' \u003ca href=\"http://www.pbs.org/independentlens/films/mimi-and-dona/\" target=\"_blank\">\u003cem>Independent Lens\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Sartain's grandmother was a \"wonderful moving presence\" who selflessly devoted herself to caring for her daughter. \"Could I be like that?\" Sartain wondered. \"I'm not that good, I'm not that unselfish. How could I measure up to Mimi?\"\u003c/p>\n\u003cp>But soon she would discover how her own path would overlap with that of her grandmother. \"It was during filming that I started to fear my own son might have autism,\" Sartain says. \"And I wondered if I was just beginning a journey that Mimi had just ended.\"\u003c/p>\n\u003cp>Her son Ben was diagnosed with autism. Sartain says she saw how her grandmother could be a role model for her and created this second, shorter, documentary, \u003cem>Sophie and Ben\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Groundbreaking trumpeter and singer Cynthia Robinson, a co-founder of the pivotal funk band \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly & The Family Stone\u003c/a>, died Monday night at age 69. Her death was confirmed by her bandmate and friend Jerry Martini, another co-founder of the Family Stone.\u003c/p>\n\u003cp>In October, Robinson disclosed that she was suffering from cancer, in an online \u003ca href=\"https://www.giveforward.com/fundraiser/g2gb/cynthia-robinson-cancer-care-fund\" target=\"_blank\" rel=\"noopener\">fundraiser\u003c/a> launched to help defray her medical bills.\u003c/p>\n\u003cp>Robinson was an integral member of The Family Stone. It’s her voice that urges fans to “Dance to the Music,” and her horn that \u003cbr>blazed through the band’s sets, from hits like “Thank You (Falettinme Be Mice Elf Agin)” to lesser-known gems like “\u003ca href=\"https://www.youtube.com/watch?v=HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4URogrXiKsI\u003c/p>\n\u003cp>In a 2013 profile aired on Morning Edition, Robinson said that Sly Stone wanted the band to be a galvanizing social force. “He made things very simple: to stand for what you believe in,” she said. “He knew how to touch upon subjects that meant something to masses of people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Sacramento in 1946 before moving to the Bay Area, Robinson joined Stone’s band in 1966 — in an era when being a female trumpet player, and an African-American trumpeter in a major band, was a singular achievement. In an undated interview with \u003ca href=\"http://openvault.wgbh.org/catalog/377a1b-interview-with-cynthia-robinson\" target=\"_blank\" rel=\"noopener\">WBGH\u003c/a>, Robinson said that while she was growing up, other kids gave her a hard time about playing her instrument: “It left me with the impression that, you know, no guy in the world would let a girl play the trumpet in his group.”\u003c/p>\n\u003cp>Robinson had two daughters, Laura Marie and Sylvette Phunne Stone, the latter with Sly Stone. This July, Robinson and her daughter Phunne released the single \u003ca href=\"https://www.youtube.com/watch?v=nNNOMqIyTjQ\" target=\"_blank\" rel=\"noopener\">“Do Yo Dance”\u003c/a> with the Family Stone.\u003c/p>\n\u003cp>After Sly Stone & The Family Band dispersed in the late 1970s (partly due to Stone’s drug abuse), Robinson and bandmates including saxophonist Jerry Martini continued to play together as The Family Stone. Robinson also played with such artists as Prince, George Clinton’s Funkadelic, and Graham Central Station, led by former bassist for Sly and the Family Stone, Larry Graham.\u003c/p>\n\u003cp>In 1993, Sly and the Family Stone were inducted into the Rock and Roll Hall of Fame. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many artists have written remembrances about the influential trumpeter on social media, but the one written by Roots drummer Questlove (Ahmir Khalib Thompson) really sums up Robinson’s impact well:\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin: 10px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:50.0% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/-dvyB3wa-x/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">All The Squares Go Home. Goodbye to Cynthia Robinson. Music's original \"hypeman\" 20 years before Public Enemy pioneered the \"Vice President\" position. But she wasn't just a screaming cheerleading foil to Sly & Freddie's gospel vocals. She was a KICK ASS trumpet player. A crucial intricate part of Sly Stone's utopian vision of MLK's America: Sly & The Family Stone were brothers & cousins. friends & enemies. black & white. male & female. saint & sinner. common man & superheroes. guarded & vulnerable. poets & punks. hip & square. She was so cool to us the day we opened up for #SlyAndTheFamilyStone she never ever lost a step or a beat. Even when we weren't so sure if Sly was coming or going during that \"comeback\" tour (he'd play 20 mins, come onstage and cameo w em for 2 songs, leave, watch them then come back 30 mins later) Cynthia Robinson held that band down. Until her passing The Family Stone was one of the last few #RRHOF groups from the 60s in which ALL original members were still present & accounted for. part of me held hope that #LarryGraham would bury the hatchet & return to the fold just one more time (could you imagine HOW powerful a Sly #GCS combo coulda been? Even if Sly pulled that 6 song ish you know and I know #Prince would be in the wings as pinch hitter and we'd all be the more wiser for it. Cynthia's role in music history isn't celebrated enough. Her & sister Rose weren't just pretty accessories there to \"coo\" & \"shoo wop shoo bob\" while the boys got the glory. Naw. They took names and kicked ass while you were dancing in the aisle. Much respect to amazing #CynthiaRobinson\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Questlove Gomez (@questlove) on Nov 24, 2015 at 2:48am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Cynthia+Robinson%2C+Co-Founder+Of+Sly+%26+The+Family+Stone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Groundbreaking trumpeter and singer Cynthia Robinson, a co-founder of the pivotal funk band \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly & The Family Stone\u003c/a>, died Monday night at age 69. Her death was confirmed by her bandmate and friend Jerry Martini, another co-founder of the Family Stone.\u003c/p>\n\u003cp>In October, Robinson disclosed that she was suffering from cancer, in an online \u003ca href=\"https://www.giveforward.com/fundraiser/g2gb/cynthia-robinson-cancer-care-fund\" target=\"_blank\" rel=\"noopener\">fundraiser\u003c/a> launched to help defray her medical bills.\u003c/p>\n\u003cp>Robinson was an integral member of The Family Stone. It’s her voice that urges fans to “Dance to the Music,” and her horn that \u003cbr>blazed through the band’s sets, from hits like “Thank You (Falettinme Be Mice Elf Agin)” to lesser-known gems like “\u003ca href=\"https://www.youtube.com/watch?v=HMQQcniF2Bg\" target=\"_blank\" rel=\"noopener\">Underdog\u003c/a>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4URogrXiKsI'\n title='//www.youtube.com/embed/4URogrXiKsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a 2013 profile aired on Morning Edition, Robinson said that Sly Stone wanted the band to be a galvanizing social force. “He made things very simple: to stand for what you believe in,” she said. “He knew how to touch upon subjects that meant something to masses of people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Sacramento in 1946 before moving to the Bay Area, Robinson joined Stone’s band in 1966 — in an era when being a female trumpet player, and an African-American trumpeter in a major band, was a singular achievement. In an undated interview with \u003ca href=\"http://openvault.wgbh.org/catalog/377a1b-interview-with-cynthia-robinson\" target=\"_blank\" rel=\"noopener\">WBGH\u003c/a>, Robinson said that while she was growing up, other kids gave her a hard time about playing her instrument: “It left me with the impression that, you know, no guy in the world would let a girl play the trumpet in his group.”\u003c/p>\n\u003cp>Robinson had two daughters, Laura Marie and Sylvette Phunne Stone, the latter with Sly Stone. This July, Robinson and her daughter Phunne released the single \u003ca href=\"https://www.youtube.com/watch?v=nNNOMqIyTjQ\" target=\"_blank\" rel=\"noopener\">“Do Yo Dance”\u003c/a> with the Family Stone.\u003c/p>\n\u003cp>After Sly Stone & The Family Band dispersed in the late 1970s (partly due to Stone’s drug abuse), Robinson and bandmates including saxophonist Jerry Martini continued to play together as The Family Stone. Robinson also played with such artists as Prince, George Clinton’s Funkadelic, and Graham Central Station, led by former bassist for Sly and the Family Stone, Larry Graham.\u003c/p>\n\u003cp>In 1993, Sly and the Family Stone were inducted into the Rock and Roll Hall of Fame. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many artists have written remembrances about the influential trumpeter on social media, but the one written by Roots drummer Questlove (Ahmir Khalib Thompson) really sums up Robinson’s impact well:\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"6\" style=\"background:#FFF;border:0;border-radius:3px;margin: 10px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:50.0% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAAGFBMVEUiIiI9PT0eHh4gIB4hIBkcHBwcHBwcHBydr+JQAAAACHRSTlMABA4YHyQsM5jtaMwAAADfSURBVDjL7ZVBEgMhCAQBAf//42xcNbpAqakcM0ftUmFAAIBE81IqBJdS3lS6zs3bIpB9WED3YYXFPmHRfT8sgyrCP1x8uEUxLMzNWElFOYCV6mHWWwMzdPEKHlhLw7NWJqkHc4uIZphavDzA2JPzUDsBZziNae2S6owH8xPmX8G7zzgKEOPUoYHvGz1TBCxMkd3kwNVbU0gKHkx+iZILf77IofhrY1nYFnB/lQPb79drWOyJVa/DAvg9B/rLB4cC+Nqgdz/TvBbBnr6GBReqn/nRmDgaQEej7WhonozjF+Y2I/fZou/qAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/-dvyB3wa-x/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">All The Squares Go Home. 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Until her passing The Family Stone was one of the last few #RRHOF groups from the 60s in which ALL original members were still present & accounted for. part of me held hope that #LarryGraham would bury the hatchet & return to the fold just one more time (could you imagine HOW powerful a Sly #GCS combo coulda been? Even if Sly pulled that 6 song ish you know and I know #Prince would be in the wings as pinch hitter and we'd all be the more wiser for it. Cynthia's role in music history isn't celebrated enough. Her & sister Rose weren't just pretty accessories there to \"coo\" & \"shoo wop shoo bob\" while the boys got the glory. Naw. They took names and kicked ass while you were dancing in the aisle. Much respect to amazing #CynthiaRobinson\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Questlove Gomez (@questlove) on Nov 24, 2015 at 2:48am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Cynthia+Robinson%2C+Co-Founder+Of+Sly+%26+The+Family+Stone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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