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"content": "\u003cp>If there’s one thing you shouldn’t pass up this holiday season, it’s the opportunity to experience \u003cem>\u003ca href=\"http://fortmason.org/event/forty-part-motet/\" target=\"_blank\" rel=\"noopener\">The Forty Part Motet\u003c/a>\u003c/em> at the Fort Mason Center on San Francisco’s waterfront. While an otherwise-featureless room containing nothing but a bunch of faceless speakers pumping out a recording of a 16th century choral music work sounds about as appealing as being forced to attend choir practice when you’re a teenager, Janet Cardiff’s epic sound installation has to be one of the most profound pieces of performance art I’ve ever witnessed.\u003c/p>\n\u003cp>The Canadian artist wanted to find a way to “climb inside” complex music, to hear all the separate parts in a way that isn’t possible when you experience a live concert or regular recording. So she picked on one of the greatest choral works ever created —\u003cem> Spem in Alium\u003c/em>, a sacred motet written for a whopping 40 individual vocal lines by the English Renaissance composer Thomas Tallis around 1570 — and collaborated with the august Salisbury Cathedral Choir in 2000 to record each individual part separately. Visitors to the installation wander around a room in which 40 speakers standing at ear level on skinny tripods arranged in a large oval shape pump out the music. There is one speaker for each vocal line, so you can either stand in the middle of the space and feel the entire piece washing over you. Or you can sidle up to a specific speaker and hear a solitary voice sing their part, and then move on to another voice.\u003c/p>\n\u003cp>And here’s why the work made such an impression on me: In the wake of the appalling terrorist attacks in Paris, Cardiff’s installation gave me an unexpected feeling of sadness and hope. As I listened to the specific voices coming out of the separate speakers, I could hear the unique beauty — and, every now and again, the falterings — of each one. It was as if those impassive noise-emitting cubes suddenly came to life! But then, taking a step back, the individual voices that seemed so pronounced with my ear up to a speaker merged together into a perfect, seamless whole. All I could think as I was hit by Tallis’ soaring polyphony was about the power of the collective spirit to come together and overcome challenges and tragedies like the one that unfolded in Paris the other night.\u003c/p>\n\u003cp>The \u003cem>Forty Part Motet\u003c/em> is just one of the many performing arts events going on in the Bay Area this week. Here are a few more that caught my eye:\u003c/p>\n\u003cfigure id=\"attachment_11104899\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11104899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg\" alt=\"'Una noche tropical' at Dance Mission Theater\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Una Noche Tropical’ at Dance Mission Theater \u003ccite>(Photo: Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Saturday, Dec. 5: \u003cem>\u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">Explosión Cubana: Una Noche Tropical\u003c/a> \u003c/em>at Dance Mission Theater, San Francisco\u003c/strong>\u003cbr>\nCuba is changing fast. With Netflix and AirB&B already doing business with the until-recently-contraband Caribbean island and a gazillion U.S. tourists on the verge of a stampede, it might not be too long before the popular idea of Cuba as a run-down, rum-soaked paradise of hot nightclubs and cool vintage cars might become divorced from reality. CubaCaribe and Dance Mission Theater intend to keep the popular idea real with their joint effort to evoke the cigar-smoke-spirit of Havana’s famous Tropicana nightclub right in the heart of The Mission. The cabaret-style soiree explores the evolution of Cuban music and dance with the help of members of the Alayo Dance Company, headed by CubaCaribe artistic director Ramon Ramos Alayo, and live music from Patricio Angulo. Dinner is part of the show too, with Cubano delicacies like pork, plantains and yuca — all fried, best washed down with mojitos — on the menu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 25: \u003ca href=\"http://www.punchlinecomedyclub.com/events/eventdetail/?viewNav=/eventdetail&eventId=1C004F3DCE043093&oid=18510\" target=\"_blank\" rel=\"noopener\">Al Madrigal\u003c/a> at Punchline Comedy Club, San Francisco\u003c/strong>\u003cbr>\nComedian, actor and San Francisco native Al Madrigal started out doing standup in local clubs before taking his wry brand of social satire to primetime TV, appearing as a regular on \u003cem>The Daily Show\u003c/em> and NBC’s \u003cem>About a Boy\u003c/em> with David Walton and Minnie Driver, among other fare. A comedian obsessed with his roots — Madrigal is of Mexican and Sicilian extraction and devoted his recently-released one hour documentary \u003cem>Half Like Me\u003c/em> to exploring his Latino heritage — the comic now returns home to San Francisco for a live recording of his new album. It’ll be an intimate affair: The Punchline, one of the city’s longest running comedy clubs, has less than 200 seats.\u003c/p>\n\u003cfigure id=\"attachment_11104562\" class=\"wp-caption alignright\" style=\"max-width: 744px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104562\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\" alt=\"A scene from 'Sunlight' by Sharr White at Dragon Theatre\" width=\"744\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg 744w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-400x222.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-672x372.jpg 672w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Sunlight’ by Sharr White at Dragon Theatre \u003ccite>(Photo: Kimberly Wadycki/Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec 13: \u003cem>\u003ca href=\"http://dragonproductions.net/box-office/2015tickets/sunlight.html\" target=\"_blank\" rel=\"noopener\">Sunlight\u003c/a>\u003c/em> at Dragon Theatre Company, Redwood City\u003c/strong>\u003cbr>\nLike Al Madrigal, American playwright Sharr White likes to return to his Bay Area roots every once in awhile. The San Francisco State and American Conservatory Theater grad launched his career here before his dramas \u003cem>The Other Place\u003c/em> and \u003cem>The Snow Geese\u003c/em> hit Broadway. But White continues his allegiance to Bay Area stages, premiering his plays \u003cem>Annapurna\u003c/em> and \u003cem>Sunlight\u003c/em> at The Magic Theatre and Marin Theatre Company respectively in recent years. \u003cem>Sunlight\u003c/em>, White’s 2010 drama exploring terrorism and its impact on civilians, is getting a new production right now with Redwood City’s feisty Dragon Theatre Company. The group has produced a couple of the White’s works in the past. In the wake of the Paris attacks a couple of weeks ago, this drama about the turmoil that arises on a university campus over a memo from a faculty member justifying the use of torture, couldn’t be more timely.\u003c/p>\n\u003cfigure id=\"attachment_11104558\" class=\"wp-caption alignright\" style=\"max-width: 557px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104558\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\" alt=\"A scene from Ayad Akhtar’s 'Disgraced' at Berkeley Rep.\" width=\"557\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg 557w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821-400x221.jpg 400w\" sizes=\"(max-width: 557px) 100vw, 557px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Ayad Akhtar’s ‘Disgraced’ at Berkeley Rep. \u003ccite>(Photo: Liz Lauren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Disgraced\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003c/strong>\u003cbr>\nPakistani-American playwright Ayad Akhtar’s Pulitzer Prize-winning 2013 play \u003cem>Disgraced\u003c/em> takes a different look at life in our post 9/11 world. The polished Berkeley Rep production directed by Kimberly Senior (who helmed the impactful play on its journey from Chicago to London’s West West End and on to Broadway before mounting this west coast premiere) deftly captures the story of a high-powered New York lawyer’s complex relationship with his Islamic roots. Exploring the challenges of Muslim identity in the United States today, Akhtar shatters assumptions about religion and race as he keenly exposes the lies and deceit embedded deep within his protagonist’s psyche. \u003cem>Read KQED’s interview with the playwright \u003ca href=\"http://ww2.kqed.org/arts/2015/11/21/pulitzer-prize-winning-playwright-on-islamophobia-and-religious-extremism/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003ca href=\"http://www.dickensfair.com/\" target=\"_blank\" rel=\"noopener\">The Dickens Fair\u003c/a> at Cow Palace, San Francisco\u003c/strong>\u003cbr>\nChristmas Eve goes on for a full five weeks in this annual holiday favorite where Bay Area residents don hoop skirts and top hats and make believe that Cow Palace in 2015 is Merrie Olde Englande circa 1850. The event is a great place to pick up holiday gifts and pig out on cakes and ale. But it’s the theatricality of the thing that makes this fair stand out from other similar holiday pageants. If the hoards of actors wandering about dressed up as characters from Dickens novels aren’t enough to take you back to Christmas past, participating in an English country dance, watching the Stark Ravens Players’ original musical version of \u003cem>Pinocchio\u003c/em>, or — if you’re a grownup — getting your kicks at the titillating \u003cem>Dickens After Dark\u003c/em> revue, surely will.\u003c/p>\n\n",
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"title": "Show Me Yours: 'The Forty Part Motet', Al Madrigal, and more | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s one thing you shouldn’t pass up this holiday season, it’s the opportunity to experience \u003cem>\u003ca href=\"http://fortmason.org/event/forty-part-motet/\" target=\"_blank\" rel=\"noopener\">The Forty Part Motet\u003c/a>\u003c/em> at the Fort Mason Center on San Francisco’s waterfront. While an otherwise-featureless room containing nothing but a bunch of faceless speakers pumping out a recording of a 16th century choral music work sounds about as appealing as being forced to attend choir practice when you’re a teenager, Janet Cardiff’s epic sound installation has to be one of the most profound pieces of performance art I’ve ever witnessed.\u003c/p>\n\u003cp>The Canadian artist wanted to find a way to “climb inside” complex music, to hear all the separate parts in a way that isn’t possible when you experience a live concert or regular recording. So she picked on one of the greatest choral works ever created —\u003cem> Spem in Alium\u003c/em>, a sacred motet written for a whopping 40 individual vocal lines by the English Renaissance composer Thomas Tallis around 1570 — and collaborated with the august Salisbury Cathedral Choir in 2000 to record each individual part separately. Visitors to the installation wander around a room in which 40 speakers standing at ear level on skinny tripods arranged in a large oval shape pump out the music. There is one speaker for each vocal line, so you can either stand in the middle of the space and feel the entire piece washing over you. Or you can sidle up to a specific speaker and hear a solitary voice sing their part, and then move on to another voice.\u003c/p>\n\u003cp>And here’s why the work made such an impression on me: In the wake of the appalling terrorist attacks in Paris, Cardiff’s installation gave me an unexpected feeling of sadness and hope. As I listened to the specific voices coming out of the separate speakers, I could hear the unique beauty — and, every now and again, the falterings — of each one. It was as if those impassive noise-emitting cubes suddenly came to life! But then, taking a step back, the individual voices that seemed so pronounced with my ear up to a speaker merged together into a perfect, seamless whole. All I could think as I was hit by Tallis’ soaring polyphony was about the power of the collective spirit to come together and overcome challenges and tragedies like the one that unfolded in Paris the other night.\u003c/p>\n\u003cp>The \u003cem>Forty Part Motet\u003c/em> is just one of the many performing arts events going on in the Bay Area this week. Here are a few more that caught my eye:\u003c/p>\n\u003cfigure id=\"attachment_11104899\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11104899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg\" alt=\"'Una noche tropical' at Dance Mission Theater\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Una Noche Tropical’ at Dance Mission Theater \u003ccite>(Photo: Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Saturday, Dec. 5: \u003cem>\u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">Explosión Cubana: Una Noche Tropical\u003c/a> \u003c/em>at Dance Mission Theater, San Francisco\u003c/strong>\u003cbr>\nCuba is changing fast. With Netflix and AirB&B already doing business with the until-recently-contraband Caribbean island and a gazillion U.S. tourists on the verge of a stampede, it might not be too long before the popular idea of Cuba as a run-down, rum-soaked paradise of hot nightclubs and cool vintage cars might become divorced from reality. CubaCaribe and Dance Mission Theater intend to keep the popular idea real with their joint effort to evoke the cigar-smoke-spirit of Havana’s famous Tropicana nightclub right in the heart of The Mission. The cabaret-style soiree explores the evolution of Cuban music and dance with the help of members of the Alayo Dance Company, headed by CubaCaribe artistic director Ramon Ramos Alayo, and live music from Patricio Angulo. Dinner is part of the show too, with Cubano delicacies like pork, plantains and yuca — all fried, best washed down with mojitos — on the menu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 25: \u003ca href=\"http://www.punchlinecomedyclub.com/events/eventdetail/?viewNav=/eventdetail&eventId=1C004F3DCE043093&oid=18510\" target=\"_blank\" rel=\"noopener\">Al Madrigal\u003c/a> at Punchline Comedy Club, San Francisco\u003c/strong>\u003cbr>\nComedian, actor and San Francisco native Al Madrigal started out doing standup in local clubs before taking his wry brand of social satire to primetime TV, appearing as a regular on \u003cem>The Daily Show\u003c/em> and NBC’s \u003cem>About a Boy\u003c/em> with David Walton and Minnie Driver, among other fare. A comedian obsessed with his roots — Madrigal is of Mexican and Sicilian extraction and devoted his recently-released one hour documentary \u003cem>Half Like Me\u003c/em> to exploring his Latino heritage — the comic now returns home to San Francisco for a live recording of his new album. It’ll be an intimate affair: The Punchline, one of the city’s longest running comedy clubs, has less than 200 seats.\u003c/p>\n\u003cfigure id=\"attachment_11104562\" class=\"wp-caption alignright\" style=\"max-width: 744px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104562\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\" alt=\"A scene from 'Sunlight' by Sharr White at Dragon Theatre\" width=\"744\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg 744w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-400x222.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-672x372.jpg 672w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Sunlight’ by Sharr White at Dragon Theatre \u003ccite>(Photo: Kimberly Wadycki/Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec 13: \u003cem>\u003ca href=\"http://dragonproductions.net/box-office/2015tickets/sunlight.html\" target=\"_blank\" rel=\"noopener\">Sunlight\u003c/a>\u003c/em> at Dragon Theatre Company, Redwood City\u003c/strong>\u003cbr>\nLike Al Madrigal, American playwright Sharr White likes to return to his Bay Area roots every once in awhile. The San Francisco State and American Conservatory Theater grad launched his career here before his dramas \u003cem>The Other Place\u003c/em> and \u003cem>The Snow Geese\u003c/em> hit Broadway. But White continues his allegiance to Bay Area stages, premiering his plays \u003cem>Annapurna\u003c/em> and \u003cem>Sunlight\u003c/em> at The Magic Theatre and Marin Theatre Company respectively in recent years. \u003cem>Sunlight\u003c/em>, White’s 2010 drama exploring terrorism and its impact on civilians, is getting a new production right now with Redwood City’s feisty Dragon Theatre Company. The group has produced a couple of the White’s works in the past. In the wake of the Paris attacks a couple of weeks ago, this drama about the turmoil that arises on a university campus over a memo from a faculty member justifying the use of torture, couldn’t be more timely.\u003c/p>\n\u003cfigure id=\"attachment_11104558\" class=\"wp-caption alignright\" style=\"max-width: 557px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104558\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\" alt=\"A scene from Ayad Akhtar’s 'Disgraced' at Berkeley Rep.\" width=\"557\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg 557w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821-400x221.jpg 400w\" sizes=\"(max-width: 557px) 100vw, 557px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Ayad Akhtar’s ‘Disgraced’ at Berkeley Rep. \u003ccite>(Photo: Liz Lauren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Disgraced\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003c/strong>\u003cbr>\nPakistani-American playwright Ayad Akhtar’s Pulitzer Prize-winning 2013 play \u003cem>Disgraced\u003c/em> takes a different look at life in our post 9/11 world. The polished Berkeley Rep production directed by Kimberly Senior (who helmed the impactful play on its journey from Chicago to London’s West West End and on to Broadway before mounting this west coast premiere) deftly captures the story of a high-powered New York lawyer’s complex relationship with his Islamic roots. Exploring the challenges of Muslim identity in the United States today, Akhtar shatters assumptions about religion and race as he keenly exposes the lies and deceit embedded deep within his protagonist’s psyche. \u003cem>Read KQED’s interview with the playwright \u003ca href=\"http://ww2.kqed.org/arts/2015/11/21/pulitzer-prize-winning-playwright-on-islamophobia-and-religious-extremism/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003ca href=\"http://www.dickensfair.com/\" target=\"_blank\" rel=\"noopener\">The Dickens Fair\u003c/a> at Cow Palace, San Francisco\u003c/strong>\u003cbr>\nChristmas Eve goes on for a full five weeks in this annual holiday favorite where Bay Area residents don hoop skirts and top hats and make believe that Cow Palace in 2015 is Merrie Olde Englande circa 1850. The event is a great place to pick up holiday gifts and pig out on cakes and ale. But it’s the theatricality of the thing that makes this fair stand out from other similar holiday pageants. If the hoards of actors wandering about dressed up as characters from Dickens novels aren’t enough to take you back to Christmas past, participating in an English country dance, watching the Stark Ravens Players’ original musical version of \u003cem>Pinocchio\u003c/em>, or — if you’re a grownup — getting your kicks at the titillating \u003cem>Dickens After Dark\u003c/em> revue, surely will.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Oakland Man, 20, Charged With Murder in Killing of Muralist",
"title": "Oakland Man, 20, Charged With Murder in Killing of Muralist",
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"content": "\u003cp>An Oakland man who police say killed Oakland muralist Antonio Ramos has been charged with murder and several counts of robbery.\u003c/p>\n\u003cp>Marquise Holloway, 20, was arraigned in Alameda County Superior Court in Oakland on Tuesday afternoon. He’s charged with Ramos’ murder, three counts of second-degree robbery and two counts of attempted second-degree robbery. The murder charge carries a special circumstance -- homicide committed during an armed robbery -- and could lead to a sentence of life without the possibility of parole.\u003c/p>\n\u003cp>While Judge Gregory Syren was reading the charges, Holloway began screaming obscenities and banging on the walls and was removed from the courtroom. Syren continued the hearing, ordered Holloway to be held without bail and set a date for him to return to court with a public defender next Monday.\u003c/p>\n\u003cp>Moments later, a group of courtroom observers who appeared to know Holloway smashed a glass case in a hallway as they exited the courthouse.\u003c/p>\n\u003cp>The shooting on the morning of Sept. 29 \u003ca href=\"http://ww2.kqed.org/arts/2015/09/30/hundreds-mourn-slain-oakland-artist-during-vigil-at-mural/\" target=\"_blank\">rocked Oakland’s arts community\u003c/a>. Ramos was working on an anti-violence mural on the Interstate 580 underpass, on West Street between 35th and 36th streets, when he was shot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland police homicide Lt. Roland Holmgren said Holloway had attempted another robbery earlier the morning of Sept. 29, when he encountered Ramos.\u003c/p>\n\u003cp>Ramos “was painting the mural and had taken a break and was taking some pictures so he could memorialize it and kind of put it up on a website,\" Holmgren said. \"So he had some of his camera equipment out there, and I believe that’s what sparked the whole incident.”\u003c/p>\n\u003cp>Holmgren says the release of a \u003ca href=\"http://evilleeye.com/news-commentary/crime/person-of-interest-identified-in-emeryville-mans-murder/\" target=\"_blank\">video and still photo\u003c/a> of Holloway last month brought in numerous tips that helped lead to the arrest.\u003c/p>\n\u003cp>“When we released the video and the photo to the media and it was provided to the community, we had almost instantaneous calling into our tip lines,” said Holmgren, who added that information from the public helped lead them to Holloway's mother house in Stockton., where he was arrested last week.\u003c/p>\n\u003cp>”That’s the type of partnership that we need. When it’s on, it’s on, and we can be effective together,” Holmgren added.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.sfgate.com/crime/article/Accused-killer-of-muralist-in-Oakland-to-appear-6654754.php\" target=\"_blank\">San Francisco Chronicle, \u003c/a>a handgun was recovered at the time of Holloway's arrest, and ballistics tests confirmed it was the weapon used in the shooting of Ramos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe class=\"scribd_iframe_embed\" src=\"https://www.scribd.com/embeds/291048484/content?start_page=1&view_mode=scroll&show_recommendations=true\" data-auto-height=\"false\" data-aspect-ratio=\"undefined\" scrolling=\"no\" id=\"doc_66330\" width=\"100%\" height=\"600\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\n",
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"title": "Oakland Man, 20, Charged With Murder in Killing of Muralist | KQED",
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"headline": "Oakland Man, 20, Charged With Murder in Killing of Muralist",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An Oakland man who police say killed Oakland muralist Antonio Ramos has been charged with murder and several counts of robbery.\u003c/p>\n\u003cp>Marquise Holloway, 20, was arraigned in Alameda County Superior Court in Oakland on Tuesday afternoon. He’s charged with Ramos’ murder, three counts of second-degree robbery and two counts of attempted second-degree robbery. The murder charge carries a special circumstance -- homicide committed during an armed robbery -- and could lead to a sentence of life without the possibility of parole.\u003c/p>\n\u003cp>While Judge Gregory Syren was reading the charges, Holloway began screaming obscenities and banging on the walls and was removed from the courtroom. Syren continued the hearing, ordered Holloway to be held without bail and set a date for him to return to court with a public defender next Monday.\u003c/p>\n\u003cp>Moments later, a group of courtroom observers who appeared to know Holloway smashed a glass case in a hallway as they exited the courthouse.\u003c/p>\n\u003cp>The shooting on the morning of Sept. 29 \u003ca href=\"http://ww2.kqed.org/arts/2015/09/30/hundreds-mourn-slain-oakland-artist-during-vigil-at-mural/\" target=\"_blank\">rocked Oakland’s arts community\u003c/a>. Ramos was working on an anti-violence mural on the Interstate 580 underpass, on West Street between 35th and 36th streets, when he was shot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland police homicide Lt. Roland Holmgren said Holloway had attempted another robbery earlier the morning of Sept. 29, when he encountered Ramos.\u003c/p>\n\u003cp>Ramos “was painting the mural and had taken a break and was taking some pictures so he could memorialize it and kind of put it up on a website,\" Holmgren said. \"So he had some of his camera equipment out there, and I believe that’s what sparked the whole incident.”\u003c/p>\n\u003cp>Holmgren says the release of a \u003ca href=\"http://evilleeye.com/news-commentary/crime/person-of-interest-identified-in-emeryville-mans-murder/\" target=\"_blank\">video and still photo\u003c/a> of Holloway last month brought in numerous tips that helped lead to the arrest.\u003c/p>\n\u003cp>“When we released the video and the photo to the media and it was provided to the community, we had almost instantaneous calling into our tip lines,” said Holmgren, who added that information from the public helped lead them to Holloway's mother house in Stockton., where he was arrested last week.\u003c/p>\n\u003cp>”That’s the type of partnership that we need. When it’s on, it’s on, and we can be effective together,” Holmgren added.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.sfgate.com/crime/article/Accused-killer-of-muralist-in-Oakland-to-appear-6654754.php\" target=\"_blank\">San Francisco Chronicle, \u003c/a>a handgun was recovered at the time of Holloway's arrest, and ballistics tests confirmed it was the weapon used in the shooting of Ramos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe class=\"scribd_iframe_embed\" src=\"https://www.scribd.com/embeds/291048484/content?start_page=1&view_mode=scroll&show_recommendations=true\" data-auto-height=\"false\" data-aspect-ratio=\"undefined\" scrolling=\"no\" id=\"doc_66330\" width=\"100%\" height=\"600\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Smog-Infused Meringues and Tacos Tell the Truth about the Air We Eat",
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"content": "\u003cp>Around a hundred people entered the upstairs reception hall at the \u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener\">Headlands Center for the Arts\u003c/a> in Marin for cocktail hour last Thursday. A line started early at the bar. Everyone was eager to taste the specialty cocktails made for the occasion.\u003c/p>\n\u003cp>Vigorously shaking their concoctions, the bartenders draped freshly cut lace lichen in one drink, the pale green filaments undulating like seaweed in the bitters. They finished a second, sweeter one with a lemon verbena foam and fog-harvested water. Three flavors of popcorn were served up in movie-style brown paper bags: cultured dairy butter, fir tree, and sloppy joe military MREs (Meals Ready to Eat).\u003c/p>\n\u003cp>Despite all appearances to the contrary, this wasn’t an awards dinner for Bay Area locavores. \u003ci>Aeroir: A Taste of Place,\u003c/i> as the event was dubbed, is part of the Headland Center’s ongoing programming around “a creative interpretation of place.” The happenings typically include talks by artists in residence and shared meals. Conceived of by a trio of confident, purposeful artists, \u003cem>Aeroir\u003c/em> turned out to be a peculiar and disorienting amalgamation of taste and place, capped by an eccentric culinary performance art gesture aimed at raising environmental awareness.\u003c/p>\n\u003cfigure id=\"attachment_11098803\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/cocktails.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098803 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/cocktails-800x600.jpg\" alt=\"Cocktail with lace lichen (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cocktail with lace lichen (Photo: Tina Salter/KQED). \u003ccite>(Tina Salter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the five-course meal, the organizers distributed several pamphlets and menus and repeated verbal instructions throughout the night to help the audience understand what \u003cem>Aeroir\u003c/em> was about. “A Word on \u003ci>Aeroir,\u003c/i>” the main program’s two-page preface, explained most succinctly how the intangible qualities of air and sky could be ingested and even appreciated by the human palate: “The act of consuming air through our digestive apparatus, rather than passively inhaling it through our respiratory system.”\u003c/p>\n\u003cfigure id=\"attachment_11098801\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098801 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg\" alt=\"The Smog Synthesizer (Photo: Jeffrey Edalatpour/KQED).\" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Smog-Cart-400x300.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Smog Synthesizer (Photo: Jeffrey Edalatpour/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>The waitstaff served up salt-baked beef, mung bean cakes, and bowls of mud-red cabbage soup with lemon foam and a soy-marbled egg to add flavor and pizzazz. But the main ingredient on the menu that night isn’t generally to be found in fancy restaurants, but rather in the air we breathe: smog.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nicola Twilley, a food writer who takes an adventurous, exploratory approach to the subject on her \u003ca href=\"http://gastropod.com/\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> and in her blog \u003ca href=\"http://www.ediblegeography.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Edible Geography\u003c/em>\u003c/a>, presided over the event, together with Gabriel Harp and Zack Denfeld of \u003ca href=\"http://genomicgastronomy.com/\" target=\"_blank\" rel=\"noopener\">The Center for Genomic Gastronomy\u003c/a> and \u003ca href=\"http://www.coclimate.com/\" target=\"_blank\" rel=\"noopener\">CoClimate\u003c/a>. Twilley explained the concept behind infusing egg-white meringues with smog fabricated by the “smog-tasting cart” that doubled as her podium.\u003c/p>\n\u003cp>They found their inspiration in Harold McGee’s book of culinary chemistry \u003cem>On Food and Cooking\u003c/em>. McGee, who was also in attendance at \u003cem>Aeroir\u003c/em>, wrote that “an egg foam is 90-percent air.” With that in mind, The Center for Genomic Gastronomy fabricated the cart as a small scale smog chamber. It creates a mixture of different pollutants that react together, resulting in the formation of smog. Each city, region and country has a specific \u003cem>Aeroir\u003c/em>, or combination of potentially harmful elements, such as hydrocarbons, soot or sulfur. Think \u003cem>terroir\u003c/em> except up above terra firma. The “structural properties of meringue batter” (all that air) easily absorb those rotten chemicals and act as the perfect vehicle to assist their studies and assault the taste buds.\u003c/p>\n\u003cfigure id=\"attachment_11098799\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Trio.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098799 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Trio-800x600.jpg\" alt=\"L. to r.: Nicola Twilley, Gabriel Harp, Zack Denfeld, Harold McGee (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L. to r.: Nicola Twilley, Gabriel Harp, Zack Denfeld, Harold McGee (Photo: Tina Salter/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Later, as Twilley carried a portable smog machine to “season” our unsalted tacos with the polluted contaminates found in Mexico City’s air, something akin to unease dawned on the downcast faces of the diners. When bugs showed up in the course described as “The Secret Life of Dust,” the conceptual aspect of \u003ci>Aeroir\u003c/i> was suddenly made a little too real.\u003c/p>\n\u003cfigure id=\"attachment_11098800\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098800 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-800x600.jpg\" alt=\"Hors d'oeuvre: The Secret Life of Dust (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hors d’oeuvre: The Secret Life of Dust (Photo: Tina Salter/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>The point — gathered quickly — was that our sense of taste is affected by our immediate atmosphere, by the air and its varietals, otherwise known as contaminants. \u003ci>Aeroir\u003c/i> turned out to be a smog taste test. But were the mouths of the guests sensitive enough to distinguish the different qualities of the air pumped into those meringues? Mine certainly was: the sooty taste of Beijing’s sky was like swallowing a pocket of grit and ash in comparison with the limpid quality in the air of California’s Central Valley. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While \u003cem>Aeroir\u003c/em> made an emphatic, unequivocal point about our poisoned, polluted skies, swallowing morsels of it, despite an agreed upon health risk waiver, excited a blistering headache and a bout of nausea in at least one guest. This must have been how Persephone felt in Hades after eating those forbidden seeds, regretful of the curiosity and greedy appetite which led to breathing in such dark oxygen.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Around a hundred people entered the upstairs reception hall at the \u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener\">Headlands Center for the Arts\u003c/a> in Marin for cocktail hour last Thursday. A line started early at the bar. Everyone was eager to taste the specialty cocktails made for the occasion.\u003c/p>\n\u003cp>Vigorously shaking their concoctions, the bartenders draped freshly cut lace lichen in one drink, the pale green filaments undulating like seaweed in the bitters. They finished a second, sweeter one with a lemon verbena foam and fog-harvested water. Three flavors of popcorn were served up in movie-style brown paper bags: cultured dairy butter, fir tree, and sloppy joe military MREs (Meals Ready to Eat).\u003c/p>\n\u003cp>Despite all appearances to the contrary, this wasn’t an awards dinner for Bay Area locavores. \u003ci>Aeroir: A Taste of Place,\u003c/i> as the event was dubbed, is part of the Headland Center’s ongoing programming around “a creative interpretation of place.” The happenings typically include talks by artists in residence and shared meals. Conceived of by a trio of confident, purposeful artists, \u003cem>Aeroir\u003c/em> turned out to be a peculiar and disorienting amalgamation of taste and place, capped by an eccentric culinary performance art gesture aimed at raising environmental awareness.\u003c/p>\n\u003cfigure id=\"attachment_11098803\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/cocktails.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098803 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/cocktails-800x600.jpg\" alt=\"Cocktail with lace lichen (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/cocktails-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cocktail with lace lichen (Photo: Tina Salter/KQED). \u003ccite>(Tina Salter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the five-course meal, the organizers distributed several pamphlets and menus and repeated verbal instructions throughout the night to help the audience understand what \u003cem>Aeroir\u003c/em> was about. “A Word on \u003ci>Aeroir,\u003c/i>” the main program’s two-page preface, explained most succinctly how the intangible qualities of air and sky could be ingested and even appreciated by the human palate: “The act of consuming air through our digestive apparatus, rather than passively inhaling it through our respiratory system.”\u003c/p>\n\u003cfigure id=\"attachment_11098801\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098801 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg\" alt=\"The Smog Synthesizer (Photo: Jeffrey Edalatpour/KQED).\" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Smog-Cart.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Smog-Cart-400x300.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Smog Synthesizer (Photo: Jeffrey Edalatpour/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>The waitstaff served up salt-baked beef, mung bean cakes, and bowls of mud-red cabbage soup with lemon foam and a soy-marbled egg to add flavor and pizzazz. But the main ingredient on the menu that night isn’t generally to be found in fancy restaurants, but rather in the air we breathe: smog.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nicola Twilley, a food writer who takes an adventurous, exploratory approach to the subject on her \u003ca href=\"http://gastropod.com/\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> and in her blog \u003ca href=\"http://www.ediblegeography.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Edible Geography\u003c/em>\u003c/a>, presided over the event, together with Gabriel Harp and Zack Denfeld of \u003ca href=\"http://genomicgastronomy.com/\" target=\"_blank\" rel=\"noopener\">The Center for Genomic Gastronomy\u003c/a> and \u003ca href=\"http://www.coclimate.com/\" target=\"_blank\" rel=\"noopener\">CoClimate\u003c/a>. Twilley explained the concept behind infusing egg-white meringues with smog fabricated by the “smog-tasting cart” that doubled as her podium.\u003c/p>\n\u003cp>They found their inspiration in Harold McGee’s book of culinary chemistry \u003cem>On Food and Cooking\u003c/em>. McGee, who was also in attendance at \u003cem>Aeroir\u003c/em>, wrote that “an egg foam is 90-percent air.” With that in mind, The Center for Genomic Gastronomy fabricated the cart as a small scale smog chamber. It creates a mixture of different pollutants that react together, resulting in the formation of smog. Each city, region and country has a specific \u003cem>Aeroir\u003c/em>, or combination of potentially harmful elements, such as hydrocarbons, soot or sulfur. Think \u003cem>terroir\u003c/em> except up above terra firma. The “structural properties of meringue batter” (all that air) easily absorb those rotten chemicals and act as the perfect vehicle to assist their studies and assault the taste buds.\u003c/p>\n\u003cfigure id=\"attachment_11098799\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Trio.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098799 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Trio-800x600.jpg\" alt=\"L. to r.: Nicola Twilley, Gabriel Harp, Zack Denfeld, Harold McGee (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Trio-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L. to r.: Nicola Twilley, Gabriel Harp, Zack Denfeld, Harold McGee (Photo: Tina Salter/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Later, as Twilley carried a portable smog machine to “season” our unsalted tacos with the polluted contaminates found in Mexico City’s air, something akin to unease dawned on the downcast faces of the diners. When bugs showed up in the course described as “The Secret Life of Dust,” the conceptual aspect of \u003ci>Aeroir\u003c/i> was suddenly made a little too real.\u003c/p>\n\u003cfigure id=\"attachment_11098800\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11098800 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-800x600.jpg\" alt=\"Hors d'oeuvre: The Secret Life of Dust (Photo: Tina Salter/KQED).\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/TheSecretLifeofDust-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hors d’oeuvre: The Secret Life of Dust (Photo: Tina Salter/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>The point — gathered quickly — was that our sense of taste is affected by our immediate atmosphere, by the air and its varietals, otherwise known as contaminants. \u003ci>Aeroir\u003c/i> turned out to be a smog taste test. But were the mouths of the guests sensitive enough to distinguish the different qualities of the air pumped into those meringues? Mine certainly was: the sooty taste of Beijing’s sky was like swallowing a pocket of grit and ash in comparison with the limpid quality in the air of California’s Central Valley. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While \u003cem>Aeroir\u003c/em> made an emphatic, unequivocal point about our poisoned, polluted skies, swallowing morsels of it, despite an agreed upon health risk waiver, excited a blistering headache and a bout of nausea in at least one guest. This must have been how Persephone felt in Hades after eating those forbidden seeds, regretful of the curiosity and greedy appetite which led to breathing in such dark oxygen.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "One Direction Wins Big at AMAs, Dion Pays Tribute to Paris Victims",
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"content": "\u003cp>One Direction might have debuted at No. 2 on the Billboard charts behind Justin Bieber, but they won the top award at Sunday’s American Music Awards.\u003c/p>\n\u003cp>“This is a testament to how incredible our fans are,” Louis Tomlinson said onstage at the Microsoft Theater in Los Angeles.\u003c/p>\n\u003cp>“We just want to thank everyone that’s helped us in the last five years,” Liam Payne added.\u003c/p>\n\u003cp>The band won the top award at last year’s show — as a quintet with Zayn Malik. They also won favorite duo or group — pop/rock Sunday night.\u003c/p>\n\u003cp>Bieber, who won best collaboration with Diplo and Skrillex, closed the night with a medley of his hits, including “Sorry,” ”Where Are U Now” and “What Do You Mean.” Purple laser lights beamed from the stage as the singer danced and sang for the loud audience. He ended it drenched after standing under a waterfall.\u003c/p>\n\u003cfigure id=\"attachment_11103276\" class=\"wp-caption alignright\" style=\"max-width: 517px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg\" alt=\"Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for 'Where Are U Now' onstage during the 2015 American Music Awards at Microsoft Theater \" width=\"517\" height=\"600\" class=\"size-medium wp-image-11103276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg 620w\" sizes=\"(max-width: 517px) 100vw, 517px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for ‘Where Are U Now’ onstage during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billboard announced Sunday his new album, \u003cem>Purpose\u003c/em>, will debut at No. 1 on its charts Monday after selling 649,000 equivalent albums. It beat out One Direction’s “Made In the A.M.,” which sold 459,000 equivalent albums.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bieber’s performance wasn’t the only well-received one: Celine Dion paid tribute to the victims of the recent Paris attacks by singing Edith Piaf’s “Hymne à L’Amour” in French as some audience members cried.\u003c/p>\n\u003cp>Jared Leto, who introduced Dion, said his band 30 Seconds to Mars recently performed at the Bataclan, the Paris concert hall where 89 people were killed in the Nov. 13 attack.\u003c/p>\n\u003cp>Dion earned a rousing applause after her performance, which started with the Eiffel Tower projected behind her.\u003c/p>\n\u003cp>The Weeknd’s performance was also a favorite, and he walked away with two awards, and presented the first one from Prince.\u003c/p>\n\u003cp>“Make some noise for Prince, ladies and gentlemen,” the singer said after picking up favorite album — soul/R&B for \u003cem>Beauty Behind the Madness.\u003c/em>\u003c/p>\n\u003cp>Nicki Minaj was also a double winner, taking home favorite artist and album — rap/hip-hop. She encouraged her feverish fans to “find their voice.”\u003c/p>\n\u003cp>“I want to just thank you, the fans, for allowing me to change and have a different voice every time I come back out (with a new album),” Minaj said. “And please find your voice and find your purpose before it’s too late. Love you.”\u003c/p>\n\u003cp>Other girls at the awards show encouraged their peers: Zendaya and Hailee Steinfeld danced excited as Selena Gomez performed onstage; Fifth Harmony and Rebel Wilson sang as Demi Lovato was in strong form with “Confident”; and Gomez sang as Grande performed “Focus” in a shimmery number.\u003c/p>\n\u003cp>Meghan Trainor and Charlie Puth’s performance got additional attention after the singers made out onstage after singing their song, “Marvin Gaye,” which features the lyrics: “Let’s Marvin Gaye and get it on.”\u003c/p>\n\u003cfigure id=\"attachment_11103277\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg\" alt=\"Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \" width=\"450\" height=\"600\" class=\"size-medium wp-image-11103277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg 650w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Jason Merritt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m still laughing at Charlie and Meghan smooching,” Bryan said onstage after winning favorite male artist — country.\u003c/p>\n\u003cp>Bryan beat out Jason Aldean and Sam Hunt, who won new artist of the year.\u003c/p>\n\u003cp>Host Jennifer Lopez kicked off the AMAs in a dance routine that highlighted some of the year’s biggest hits like “Where Are U Now,” ”Anaconda,” ”Uptown Funk!” and “Hotline Bling.” She also impressively sang in almost a cappella form.\u003c/p>\n\u003cp>Taylor Swift, who is out of the country shooting a music video, was the top nominee with six. She won song of the year for “Blank Space,” favorite album — pop/rock for \u003cem>1989\u003c/em> and favorite artist — adult contemporary\u003c/p>\n\u003cp>Swift lost favorite female artist — pop/rock to Grande, who was shocked when accepting the honor.\u003c/p>\n\u003cp>“I think I owe a lot of this to my nonna who made sure to remind me that she voted. She goes, ‘Ariana, I went on the computer, I voted, so I think you’ll win,'” Grande said in an Italian accent.\u003c/p>\n\u003cp>The three-hour show, which aired on ABC, also included a clip from the upcoming \u003cem>Star Wars\u003c/em> film. Performers included Coldplay, Gwen Stefani, Alanis Morissette, 5 Seconds of Summer and Carrie Underwood, who won favorite female artist — country.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"title": "One Direction Wins Big at AMAs, Dion Pays Tribute to Paris Victims | KQED",
"description": "One Direction might have debuted at No. 2 on the Billboard charts behind Justin Bieber, but they won the top award at Sunday's American Music Awards. "This is a testament to how incredible our fans are," Louis Tomlinson said onstage at the Microsoft Theater in Los Angeles. "We just want to thank everyone that's helped us in the last five years," Liam Payne added. The band won the top award at last year's show — as a quintet with Zayn Malik. They also won favorite duo or group — pop/rock Sunday night. Bieber, who won best collaboration with Diplo and",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One Direction might have debuted at No. 2 on the Billboard charts behind Justin Bieber, but they won the top award at Sunday’s American Music Awards.\u003c/p>\n\u003cp>“This is a testament to how incredible our fans are,” Louis Tomlinson said onstage at the Microsoft Theater in Los Angeles.\u003c/p>\n\u003cp>“We just want to thank everyone that’s helped us in the last five years,” Liam Payne added.\u003c/p>\n\u003cp>The band won the top award at last year’s show — as a quintet with Zayn Malik. They also won favorite duo or group — pop/rock Sunday night.\u003c/p>\n\u003cp>Bieber, who won best collaboration with Diplo and Skrillex, closed the night with a medley of his hits, including “Sorry,” ”Where Are U Now” and “What Do You Mean.” Purple laser lights beamed from the stage as the singer danced and sang for the loud audience. He ended it drenched after standing under a waterfall.\u003c/p>\n\u003cfigure id=\"attachment_11103276\" class=\"wp-caption alignright\" style=\"max-width: 517px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg\" alt=\"Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for 'Where Are U Now' onstage during the 2015 American Music Awards at Microsoft Theater \" width=\"517\" height=\"600\" class=\"size-medium wp-image-11103276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-517x600.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Skrillex-and-Diplo.jpg 620w\" sizes=\"(max-width: 517px) 100vw, 517px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artists Skrillex (L) and Diplo accept Collaboration of the Year award for ‘Where Are U Now’ onstage during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billboard announced Sunday his new album, \u003cem>Purpose\u003c/em>, will debut at No. 1 on its charts Monday after selling 649,000 equivalent albums. It beat out One Direction’s “Made In the A.M.,” which sold 459,000 equivalent albums.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bieber’s performance wasn’t the only well-received one: Celine Dion paid tribute to the victims of the recent Paris attacks by singing Edith Piaf’s “Hymne à L’Amour” in French as some audience members cried.\u003c/p>\n\u003cp>Jared Leto, who introduced Dion, said his band 30 Seconds to Mars recently performed at the Bataclan, the Paris concert hall where 89 people were killed in the Nov. 13 attack.\u003c/p>\n\u003cp>Dion earned a rousing applause after her performance, which started with the Eiffel Tower projected behind her.\u003c/p>\n\u003cp>The Weeknd’s performance was also a favorite, and he walked away with two awards, and presented the first one from Prince.\u003c/p>\n\u003cp>“Make some noise for Prince, ladies and gentlemen,” the singer said after picking up favorite album — soul/R&B for \u003cem>Beauty Behind the Madness.\u003c/em>\u003c/p>\n\u003cp>Nicki Minaj was also a double winner, taking home favorite artist and album — rap/hip-hop. She encouraged her feverish fans to “find their voice.”\u003c/p>\n\u003cp>“I want to just thank you, the fans, for allowing me to change and have a different voice every time I come back out (with a new album),” Minaj said. “And please find your voice and find your purpose before it’s too late. Love you.”\u003c/p>\n\u003cp>Other girls at the awards show encouraged their peers: Zendaya and Hailee Steinfeld danced excited as Selena Gomez performed onstage; Fifth Harmony and Rebel Wilson sang as Demi Lovato was in strong form with “Confident”; and Gomez sang as Grande performed “Focus” in a shimmery number.\u003c/p>\n\u003cp>Meghan Trainor and Charlie Puth’s performance got additional attention after the singers made out onstage after singing their song, “Marvin Gaye,” which features the lyrics: “Let’s Marvin Gaye and get it on.”\u003c/p>\n\u003cfigure id=\"attachment_11103277\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg\" alt=\"Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \" width=\"450\" height=\"600\" class=\"size-medium wp-image-11103277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Wekknd.jpg 650w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Recording artist The Weeknd, winner of Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album, poses in the press room during the 2015 American Music Awards at Microsoft Theater \u003ccite>(Photo: Jason Merritt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m still laughing at Charlie and Meghan smooching,” Bryan said onstage after winning favorite male artist — country.\u003c/p>\n\u003cp>Bryan beat out Jason Aldean and Sam Hunt, who won new artist of the year.\u003c/p>\n\u003cp>Host Jennifer Lopez kicked off the AMAs in a dance routine that highlighted some of the year’s biggest hits like “Where Are U Now,” ”Anaconda,” ”Uptown Funk!” and “Hotline Bling.” She also impressively sang in almost a cappella form.\u003c/p>\n\u003cp>Taylor Swift, who is out of the country shooting a music video, was the top nominee with six. She won song of the year for “Blank Space,” favorite album — pop/rock for \u003cem>1989\u003c/em> and favorite artist — adult contemporary\u003c/p>\n\u003cp>Swift lost favorite female artist — pop/rock to Grande, who was shocked when accepting the honor.\u003c/p>\n\u003cp>“I think I owe a lot of this to my nonna who made sure to remind me that she voted. She goes, ‘Ariana, I went on the computer, I voted, so I think you’ll win,'” Grande said in an Italian accent.\u003c/p>\n\u003cp>The three-hour show, which aired on ABC, also included a clip from the upcoming \u003cem>Star Wars\u003c/em> film. Performers included Coldplay, Gwen Stefani, Alanis Morissette, 5 Seconds of Summer and Carrie Underwood, who won favorite female artist — country.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kinsman has filed a lawsuit against Winston, accusing him of forcible rape in 2012. He was not charged by police in Florida and is now starting for the Buccaneers.\u003c/p>\n\u003cp>Kinsman’s lawyer, John Clune, issued a statement over the weekend saying Winston had launched a “PR battle”:\u003c/p>\n\u003cblockquote>\n\u003cp>“His latest attack is an attempt to revive his lawyers’ media themes and, as expected, shows no understanding of rape trauma and misrepresents the actual evidence. More importantly, Mr. Winston should get used to the rape allegations against him because film or no film, they aren’t going away.”\u003c/p>\n\u003c/blockquote>\n\u003cp>CNN made clear it would go ahead with plans to air the documentary.\u003c/p>\n\u003cp>“CNN is proud to provide a platform for a film that has undeniably played a significant role in advancing the national conversation about sexual assault on college campuses,” a network spokeswoman told \u003ca href=\"http://www.nytimes.com/2015/11/23/business/cnn-to-show-sex-assault-film-despite-legal-threat.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=second-column-region®ion=top-news&WT.nav=top-news&_r=0\">The New York Times\u003c/a>. “We are confident that both the film and our extensive associated coverage give this important issue the full and fair treatment it deserves.”\u003c/p>\n\u003cp>\u003cem>The Hunting Ground\u003c/em> has also been criticized for its depiction of an incident at Harvard Law School, in which a student was accused of assaulting two women.\u003c/p>\n\u003cp>\u003ca href=\"https://kcjohnson.files.wordpress.com/2013/08/hls-pressrelease.pdf\">A letter\u003c/a> signed by 19 Harvard Law School faculty members said the film “provides a seriously false picture both of the general sexual assault phenomenon at universities and of our student,” noting a grand jury declined to indict him on the most serious sexual assault charges brought against him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The documentary makers say they \u003ca href=\"http://www.thehuntinggroundfilm.com/2015/11/response-to-statement-by-19-harvard-law-professors/\">stand behind the case\u003c/a> as they presented it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=CNN+Airs+Documentary+on+Sexual+Assault%2C+Despite+Legal+Threats&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The California State University system has become the latest to take back an honorary degree from Bill Cosby.\u003c/p>\n\u003cp>The Board of Trustees voted Friday to revoke an honorary doctorate given to Cosby by Cal Poly Pomona in 1992.\u003c/p>\n\u003cp>The Cal State board said in a statement that it was revoking an honorary degree for the first time because Cosby’s conduct is contrary to the values of the university system.\u003c/p>\n\u003cp>With the move the system joins at least a half-dozen other institutions that have revoked degrees in an attempt to distance themselves from the 78-year-old Cosby as he has become embroiled in dozens of allegations of sexual assault. Cosby has not been charged in any of the cases and has denied many of the allegations while not addressing others. A message left with a Cosby representative was not immediately returned.\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"disqusTitle": "New Book Covers History of American Comedy, Including Its Darker Side",
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"content": "\u003cp>The subtitle of author Kliph Nesteroff’s new book, \"The Comedians,\" tells all: \"Drunks, Thieves, Scoundrels and the History of American Comedy.\" It’s a comprehensive chronicle of the people who have made us laugh over the last century, but the often dark, desperate story is far from a chucklefest.\u003c/p>\n\u003cfigure id=\"attachment_10765967\" class=\"wp-caption alignleft\" style=\"max-width: 388px\">\u003cimg class=\"wp-image-10765967\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Comedians-cover-art-e1448053022534.jpg\" alt='\"The Comedians\" by Kliph Nesteroff' width=\"388\" height=\"586\">\u003cfigcaption class=\"wp-caption-text\">'The Comedians' by Kliph Nesteroff\u003c/figcaption>\u003c/figure>\n\u003cp>Take Joe E. Lewis, for example, once the Dane Cook of his day, now virtually forgotten. In 1927, he had his throat slit during a contract negotiation with an Al Capone associate, though he survived to joke again. Lewis was one of many nightclub comics working for the mob, a largely overlooked history and a big part of author Kliph Nesteroff’s book, which spans the laugh business from vaudeville to podcasting.\u003c/p>\n\u003cp>“For some reason nobody has really talked about that in conjunction with comedians before,” says Nesteroff, “and to me that is so much more interesting than a boring singer being connected to the mob. A guy who makes fun of people for a living, his boss is a humorless Mafioso who could kill you? That dynamic to me is compelling.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/234393706\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Los Angeles-based Nesteroff, who’s 35, started collecting vintage comedy albums as a teenager in British Columbia. That led to tracking down pretty much anyone he could reach involved with comedy on stage, screen, TV or radio. Meaning folks you’ve probably never heard of.\u003c/p>\n\u003cfigure id=\"attachment_10769753\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10769753\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Kliph-800x590.jpg\" alt=\"Author Kliph Nesteroff\" width=\"800\" height=\"590\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-800x590.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-400x295.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-1440x1063.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-1180x871.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-960x709.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Kliph Nesteroff \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was all this insight,” he explains. “These guys were obscure and their careers were nothing, but they had insight into the people we did know. And that really built an incredible story I was able to work from.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2006, Nesteroff began sharing his stories on the website of New Jersey free-form station WFMU. He developed an appreciative cult following that included Steve Martin, Mel Brooks and Marc Maron.\u003c/p>\n\u003cp>“I think the first piece I read was about Shecky Green,” Maron says. “I was so amazed and engrossed with the way he captured show business, 'cause I have that thing in my head. I’m attracted to the dark crevices and the seediness and this sort of chaos of the personalities, and that piece he wrote on Shecky just blew my mind.”\u003c/p>\n\u003cp>Maron was impressed enough to interview Nesteroff on his \u003ca href=\"http://www.wtfpod.com/podcast/episodes/episode_314_-_kliph_nesteroff\" target=\"_blank\">\"WTF\" podcast\u003c/a>, which helped land the book deal and a Page One dedication.\u003c/p>\n\u003cfigure id=\"attachment_10770580\" class=\"wp-caption alignleft\" style=\"max-width: 386px\">\u003cimg class=\" wp-image-10770580\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Maron-800x862.jpg\" alt=\"Comedian Marc Maron\" width=\"386\" height=\"415\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-800x862.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-400x431.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-1440x1552.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-1180x1272.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-960x1035.jpg 960w\" sizes=\"(max-width: 386px) 100vw, 386px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Marc Maron \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He just has this amazing eye for lurid but compelling tales that don’t necessarily diminish people, but you sort of feel, well, of course these guys were like that,” says Maron.\u003c/p>\n\u003cp>For every Richard Pryor, Jonathan Winters and Joan Rivers in the book, Nesteroff covers unfamiliar names like B.S. Pully, Slick Slavin and Frankie Ray Pirelli. But the author knows what it’s like to get onstage as an unknown. Before focusing on writing, Nesteroff worked comedy clubs in Canada for eight years.\u003c/p>\n\u003cp>“The fact that Kliph was a standup, I think was indispensable in the writing of this book because it gives you a perspective that you can only have once you’ve done it,” says veteran standup and former \"Simpsons\" writer Dana Gould, who’s quoted in \"The Comedians\" as a pillar of the early ‘90s alt-comedy scene.\u003c/p>\n\u003cp>“Standup comedy is like sex,” Gould continues. “The only way to learn how to do it is to actually do it. And then once you’ve done it, you’re full of shame.”\u003c/p>\n\u003cfigure id=\"attachment_10765978\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10765978 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/dana-1-comedy-800x600.jpg\" alt=\"Comedian Dana Gould and his cat Ella.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Comedian Dana Gould and his cat, Ella. (Peter Gilstrap)\u003c/figcaption>\u003c/figure>\n\u003cp>To borrow from Rodney Dangerfield, it’s all about respect.\u003c/p>\n\u003cp>“Because it’s comedy, it is innately not as well respected,” says Gould. “Ken Burns can do the history of jazz and it’s like the Parthenon, but comedy’s like, we don’t need to deal with that, it’s just comedy.”\u003c/p>\n\u003cp>But still, it’s important stuff.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s part of our popular culture,” says film critic and historian Leonard Maltin. “No less than movies or books or artwork of any kind. What Kliph has done is to take something that no one else has bothered to chronicle or to take seriously. I think he nailed it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The subtitle of author Kliph Nesteroff’s new book, \"The Comedians,\" tells all: \"Drunks, Thieves, Scoundrels and the History of American Comedy.\" It’s a comprehensive chronicle of the people who have made us laugh over the last century, but the often dark, desperate story is far from a chucklefest.\u003c/p>\n\u003cfigure id=\"attachment_10765967\" class=\"wp-caption alignleft\" style=\"max-width: 388px\">\u003cimg class=\"wp-image-10765967\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Comedians-cover-art-e1448053022534.jpg\" alt='\"The Comedians\" by Kliph Nesteroff' width=\"388\" height=\"586\">\u003cfigcaption class=\"wp-caption-text\">'The Comedians' by Kliph Nesteroff\u003c/figcaption>\u003c/figure>\n\u003cp>Take Joe E. Lewis, for example, once the Dane Cook of his day, now virtually forgotten. In 1927, he had his throat slit during a contract negotiation with an Al Capone associate, though he survived to joke again. Lewis was one of many nightclub comics working for the mob, a largely overlooked history and a big part of author Kliph Nesteroff’s book, which spans the laugh business from vaudeville to podcasting.\u003c/p>\n\u003cp>“For some reason nobody has really talked about that in conjunction with comedians before,” says Nesteroff, “and to me that is so much more interesting than a boring singer being connected to the mob. A guy who makes fun of people for a living, his boss is a humorless Mafioso who could kill you? That dynamic to me is compelling.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/234393706&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/234393706'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Los Angeles-based Nesteroff, who’s 35, started collecting vintage comedy albums as a teenager in British Columbia. That led to tracking down pretty much anyone he could reach involved with comedy on stage, screen, TV or radio. Meaning folks you’ve probably never heard of.\u003c/p>\n\u003cfigure id=\"attachment_10769753\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10769753\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Kliph-800x590.jpg\" alt=\"Author Kliph Nesteroff\" width=\"800\" height=\"590\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-800x590.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-400x295.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-1440x1063.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-1180x871.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-960x709.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Kliph Nesteroff \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was all this insight,” he explains. “These guys were obscure and their careers were nothing, but they had insight into the people we did know. And that really built an incredible story I was able to work from.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2006, Nesteroff began sharing his stories on the website of New Jersey free-form station WFMU. He developed an appreciative cult following that included Steve Martin, Mel Brooks and Marc Maron.\u003c/p>\n\u003cp>“I think the first piece I read was about Shecky Green,” Maron says. “I was so amazed and engrossed with the way he captured show business, 'cause I have that thing in my head. I’m attracted to the dark crevices and the seediness and this sort of chaos of the personalities, and that piece he wrote on Shecky just blew my mind.”\u003c/p>\n\u003cp>Maron was impressed enough to interview Nesteroff on his \u003ca href=\"http://www.wtfpod.com/podcast/episodes/episode_314_-_kliph_nesteroff\" target=\"_blank\">\"WTF\" podcast\u003c/a>, which helped land the book deal and a Page One dedication.\u003c/p>\n\u003cfigure id=\"attachment_10770580\" class=\"wp-caption alignleft\" style=\"max-width: 386px\">\u003cimg class=\" wp-image-10770580\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Maron-800x862.jpg\" alt=\"Comedian Marc Maron\" width=\"386\" height=\"415\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-800x862.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-400x431.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-1440x1552.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-1180x1272.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-960x1035.jpg 960w\" sizes=\"(max-width: 386px) 100vw, 386px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Marc Maron \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He just has this amazing eye for lurid but compelling tales that don’t necessarily diminish people, but you sort of feel, well, of course these guys were like that,” says Maron.\u003c/p>\n\u003cp>For every Richard Pryor, Jonathan Winters and Joan Rivers in the book, Nesteroff covers unfamiliar names like B.S. Pully, Slick Slavin and Frankie Ray Pirelli. But the author knows what it’s like to get onstage as an unknown. Before focusing on writing, Nesteroff worked comedy clubs in Canada for eight years.\u003c/p>\n\u003cp>“The fact that Kliph was a standup, I think was indispensable in the writing of this book because it gives you a perspective that you can only have once you’ve done it,” says veteran standup and former \"Simpsons\" writer Dana Gould, who’s quoted in \"The Comedians\" as a pillar of the early ‘90s alt-comedy scene.\u003c/p>\n\u003cp>“Standup comedy is like sex,” Gould continues. “The only way to learn how to do it is to actually do it. And then once you’ve done it, you’re full of shame.”\u003c/p>\n\u003cfigure id=\"attachment_10765978\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10765978 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/dana-1-comedy-800x600.jpg\" alt=\"Comedian Dana Gould and his cat Ella.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Comedian Dana Gould and his cat, Ella. (Peter Gilstrap)\u003c/figcaption>\u003c/figure>\n\u003cp>To borrow from Rodney Dangerfield, it’s all about respect.\u003c/p>\n\u003cp>“Because it’s comedy, it is innately not as well respected,” says Gould. “Ken Burns can do the history of jazz and it’s like the Parthenon, but comedy’s like, we don’t need to deal with that, it’s just comedy.”\u003c/p>\n\u003cp>But still, it’s important stuff.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s part of our popular culture,” says film critic and historian Leonard Maltin. “No less than movies or books or artwork of any kind. What Kliph has done is to take something that no one else has bothered to chronicle or to take seriously. I think he nailed it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was both the best and the worst of timing, as \u003ca href=\"http://ayadakhtar.com/\" target=\"_blank\" rel=\"noopener\">Ayad Akhtar\u003c/a>’s play \u003ca href=\"http://www.berkeleyrep.org/press/presskit-1516di.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Disgraced\u003c/em> \u003c/a>opened on Nov. 13. The world was riveted that afternoon by the attacks on Paris, and then a packed house watched this play that seemed to be about the issues behind the attacks and the world’s reaction: Islamophobia, religious extremism, cultural appropriation, intermarriage, anti-semitism, and the breakdown of dialogue across cultures\u003c/p>\n\u003cp>As the applause died down, the cast stood on stage, holding hands, with their heads bowed in silence for a long moment for the those who died in Paris.\u003c/p>\n\u003cp>KQED talked with Akhtar a few weeks ago about \u003cem>Disgraced,\u003c/em> which won a Pulitzer Prize in 2013. Akhtar is a Pakistani-American novelist (\u003cem>American Dervish\u003c/em>), playwright (\u003cem>Disgraced\u003c/em> and \u003cem>\u003ca href=\"http://www.lajollaplayhouse.org/the-who-the-what\" target=\"_blank\" rel=\"noopener\">The Who and the What\u003c/a>\u003c/em>), screenwriter and actor (\u003cem>\u003ca href=\"http://www.warwithinmovie.com/\" target=\"_blank\" rel=\"noopener\">The War Within\u003c/a>\u003c/em>), born in New York, and raised near Milwaukee, Wisconsin.\u003c/p>\n\u003cp>\u003cstrong>Tell me about Amir Kapoor, the Muslim-American and corporate attorney at the center of\u003cem> Disgraced\u003c/em>. He’s maneuvering for a partnership at a law firm in NYC. \u003c/strong>\u003c/p>\n\u003cp>He wouldn’t see himself as a Muslim, and unfortunately in a post 9/11 world, that’s not a nuance that exists. You can’t say, “I was brought up Muslim, but I’m not Muslim.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But I think that Amir sees himself as an upwardly mobile young urban professional, and I think he’s trying to partake of the old paradigm, of American renewal of the self in the new world, but he is prevented from that in the truculent cultural environment of post 9/11 America.\u003c/p>\n\u003cp>\u003cstrong>The characters in \u003cem>Disgraced\u003c/em> debate the merits of the Quran. And Amir, the lapsed Muslim, calls it “a very long hate mail letter” to humanity. What’s your opinion?\u003c/strong>\u003c/p>\n\u003cp>What Amir says in the play is what Amir says. William Faulkner once said, something like, all I do is follow my characters around and write down what they say. Everybody in the play is saying stuff. There’s a lot of people saying nice things about the Quran. I also listened to them and wrote down what they said.\u003c/p>\n\u003cp>I think any religious text worth its salt, is probably grappling with the great dualities of human nature. Both our capacity for extraordinary generosity, good and sublimity, and our capacity for great harm, evil and menace. The Quran is no exception. Neither is the Old Testament, and neither is the Bhagavad Gita. And I think Amir has latched on to some aspect of the Quran, which, yeah, there’s a lot of anger in it.\u003c/p>\n\u003cp>But I think the Islamic God, Allah, would say there’s a lot of good reasons to be angry with the state of humanity.\u003c/p>\n\u003cp>\u003cstrong>Amir describes his approach to traveling by air, where he embraces the suspicion that comes with his dark skin and Muslim name. He says he walks up to TSA agents at the airport and insists they pat him down and search his bags. You’re not Amir, but what is flying like for you?\u003c/strong>\u003c/p>\n\u003cp>My experience is not Amir’s experience. I don’t willfully challenge the unconscious racial prejudices of TSA agents. I am a pretty low key guy, usually wearing a baseball cap, and don’t seem to have any problems.\u003c/p>\n\u003cp>But most of my friends who are of Pakistani or Indian origin are regularly detained for many hours every time they pass through JFK.\u003c/p>\n\u003cp>\u003cstrong>In the play there seem to be these unbridgeable divisions between white-protestant Americans, Jewish American, African Americans, and Muslim-Americans. Is it really that hopeless?\u003c/strong>\u003c/p>\n\u003cp>I think that President Obama’s presidency has certainly brought more attention to the bugs underneath the structure of our so-called multicultural, post-racial nation. I think the recent Ta-Nehisi Coates book \u003cem>Between the World and Me\u003c/em> (about racial injustice), is a very rational, truthful depiction of American history.\u003c/p>\n\u003cp>We like to tell ourselves about how great we are, and how tolerant we are. And I think probably what defines our greatness, if we have any, is our capacity to look at ourselves with greater clarity. So I think I think it’s good that there are works like \u003cem>Disgraced\u003c/em> and the Coates book telling people that’s a lot of hooey.\u003c/p>\n\u003cp>\u003cstrong>You sound despairing.\u003c/strong>\u003c/p>\n\u003cp>The only hope for humanity, as far as I’m concerned, is self-knowledge. So I don’t know why it’s depressing to be told we have to work on ourselves. I think some people come to a work of art hoping that that it will somehow solve the tensions of the social order. I don’t think that’s the purpose of art as I see it.\u003c/p>\n\u003cp>I used to have a teacher in high school who would say, “The purpose of art is to raise questions.” And I thought “I don’t care about questions.” But as I get older, I think that’s the only thing that’s interesting. I’m not going to give the audience some redemptive story about the eternal hopefulness of our lives.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Disgraced\u003c/em> won the Pulitzer and 30 theaters are doing the show around the country. Why do you think it’s being embraced so widely?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2013/legit/news/drama-pulitzer-story-winner-tk-1200369753/\" target=\"_blank\" rel=\"noopener\">\u003cem>Variety\u003c/em> did a wonderful piece about the Pulitzer\u003c/a> after\u003cem> Disgraced\u003c/em> won, and asked, “What does a Pulitzer get you?” It’s $10,000. You’re going to blow that in three or four months. It doesn’t necessarily mean that your play is going to make any money. I guess all it means is it gets you an obituary in the \u003cem>New York Times\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>So why has the play had such an impact?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. My experience of the play is that people find themselves surprisingly engaged, moved and confused by it. And I think that its dealing with stuff that’s going on in the world today that doesn’t usually lend itself to an engaging narrative experience.\u003c/p>\n\u003cp>There’s a lot of ideas in the play, but it’s not a play of ideas. There are a lot of jokes here, and intrigue. It’s actually a melodrama-slash-thriller-slash-agitprop-slash-domestic tragedy.\u003c/p>\n\u003cp>\u003cstrong>You’re the son of doctors and grew up outside Milwaukee, Wisconsin. So how did you growing up in the mid-west shape your identity and your writing?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the case of \u003cem>Disgraced\u003c/em>, a lot of people think I’m Amir. But I’m all of those characters. The writers who affected me the most in my late childhood were the great Jewish-American writers Philip Roth and Saul Bellow, and Chaim Potok, and then later: Woody Allen, (Jerry) Seinfeld, Larry David. And those guys taught me how to think about my own work.\u003c/p>\n\n",
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"headline": "Pulitzer Prize Winning Playwright on Islamophobia and Religious Extremism",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was both the best and the worst of timing, as \u003ca href=\"http://ayadakhtar.com/\" target=\"_blank\" rel=\"noopener\">Ayad Akhtar\u003c/a>’s play \u003ca href=\"http://www.berkeleyrep.org/press/presskit-1516di.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Disgraced\u003c/em> \u003c/a>opened on Nov. 13. The world was riveted that afternoon by the attacks on Paris, and then a packed house watched this play that seemed to be about the issues behind the attacks and the world’s reaction: Islamophobia, religious extremism, cultural appropriation, intermarriage, anti-semitism, and the breakdown of dialogue across cultures\u003c/p>\n\u003cp>As the applause died down, the cast stood on stage, holding hands, with their heads bowed in silence for a long moment for the those who died in Paris.\u003c/p>\n\u003cp>KQED talked with Akhtar a few weeks ago about \u003cem>Disgraced,\u003c/em> which won a Pulitzer Prize in 2013. Akhtar is a Pakistani-American novelist (\u003cem>American Dervish\u003c/em>), playwright (\u003cem>Disgraced\u003c/em> and \u003cem>\u003ca href=\"http://www.lajollaplayhouse.org/the-who-the-what\" target=\"_blank\" rel=\"noopener\">The Who and the What\u003c/a>\u003c/em>), screenwriter and actor (\u003cem>\u003ca href=\"http://www.warwithinmovie.com/\" target=\"_blank\" rel=\"noopener\">The War Within\u003c/a>\u003c/em>), born in New York, and raised near Milwaukee, Wisconsin.\u003c/p>\n\u003cp>\u003cstrong>Tell me about Amir Kapoor, the Muslim-American and corporate attorney at the center of\u003cem> Disgraced\u003c/em>. He’s maneuvering for a partnership at a law firm in NYC. \u003c/strong>\u003c/p>\n\u003cp>He wouldn’t see himself as a Muslim, and unfortunately in a post 9/11 world, that’s not a nuance that exists. You can’t say, “I was brought up Muslim, but I’m not Muslim.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I think that Amir sees himself as an upwardly mobile young urban professional, and I think he’s trying to partake of the old paradigm, of American renewal of the self in the new world, but he is prevented from that in the truculent cultural environment of post 9/11 America.\u003c/p>\n\u003cp>\u003cstrong>The characters in \u003cem>Disgraced\u003c/em> debate the merits of the Quran. And Amir, the lapsed Muslim, calls it “a very long hate mail letter” to humanity. What’s your opinion?\u003c/strong>\u003c/p>\n\u003cp>What Amir says in the play is what Amir says. William Faulkner once said, something like, all I do is follow my characters around and write down what they say. Everybody in the play is saying stuff. There’s a lot of people saying nice things about the Quran. I also listened to them and wrote down what they said.\u003c/p>\n\u003cp>I think any religious text worth its salt, is probably grappling with the great dualities of human nature. Both our capacity for extraordinary generosity, good and sublimity, and our capacity for great harm, evil and menace. The Quran is no exception. Neither is the Old Testament, and neither is the Bhagavad Gita. And I think Amir has latched on to some aspect of the Quran, which, yeah, there’s a lot of anger in it.\u003c/p>\n\u003cp>But I think the Islamic God, Allah, would say there’s a lot of good reasons to be angry with the state of humanity.\u003c/p>\n\u003cp>\u003cstrong>Amir describes his approach to traveling by air, where he embraces the suspicion that comes with his dark skin and Muslim name. He says he walks up to TSA agents at the airport and insists they pat him down and search his bags. You’re not Amir, but what is flying like for you?\u003c/strong>\u003c/p>\n\u003cp>My experience is not Amir’s experience. I don’t willfully challenge the unconscious racial prejudices of TSA agents. I am a pretty low key guy, usually wearing a baseball cap, and don’t seem to have any problems.\u003c/p>\n\u003cp>But most of my friends who are of Pakistani or Indian origin are regularly detained for many hours every time they pass through JFK.\u003c/p>\n\u003cp>\u003cstrong>In the play there seem to be these unbridgeable divisions between white-protestant Americans, Jewish American, African Americans, and Muslim-Americans. Is it really that hopeless?\u003c/strong>\u003c/p>\n\u003cp>I think that President Obama’s presidency has certainly brought more attention to the bugs underneath the structure of our so-called multicultural, post-racial nation. I think the recent Ta-Nehisi Coates book \u003cem>Between the World and Me\u003c/em> (about racial injustice), is a very rational, truthful depiction of American history.\u003c/p>\n\u003cp>We like to tell ourselves about how great we are, and how tolerant we are. And I think probably what defines our greatness, if we have any, is our capacity to look at ourselves with greater clarity. So I think I think it’s good that there are works like \u003cem>Disgraced\u003c/em> and the Coates book telling people that’s a lot of hooey.\u003c/p>\n\u003cp>\u003cstrong>You sound despairing.\u003c/strong>\u003c/p>\n\u003cp>The only hope for humanity, as far as I’m concerned, is self-knowledge. So I don’t know why it’s depressing to be told we have to work on ourselves. I think some people come to a work of art hoping that that it will somehow solve the tensions of the social order. I don’t think that’s the purpose of art as I see it.\u003c/p>\n\u003cp>I used to have a teacher in high school who would say, “The purpose of art is to raise questions.” And I thought “I don’t care about questions.” But as I get older, I think that’s the only thing that’s interesting. I’m not going to give the audience some redemptive story about the eternal hopefulness of our lives.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Disgraced\u003c/em> won the Pulitzer and 30 theaters are doing the show around the country. Why do you think it’s being embraced so widely?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2013/legit/news/drama-pulitzer-story-winner-tk-1200369753/\" target=\"_blank\" rel=\"noopener\">\u003cem>Variety\u003c/em> did a wonderful piece about the Pulitzer\u003c/a> after\u003cem> Disgraced\u003c/em> won, and asked, “What does a Pulitzer get you?” It’s $10,000. You’re going to blow that in three or four months. It doesn’t necessarily mean that your play is going to make any money. I guess all it means is it gets you an obituary in the \u003cem>New York Times\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>So why has the play had such an impact?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. My experience of the play is that people find themselves surprisingly engaged, moved and confused by it. And I think that its dealing with stuff that’s going on in the world today that doesn’t usually lend itself to an engaging narrative experience.\u003c/p>\n\u003cp>There’s a lot of ideas in the play, but it’s not a play of ideas. There are a lot of jokes here, and intrigue. It’s actually a melodrama-slash-thriller-slash-agitprop-slash-domestic tragedy.\u003c/p>\n\u003cp>\u003cstrong>You’re the son of doctors and grew up outside Milwaukee, Wisconsin. So how did you growing up in the mid-west shape your identity and your writing?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the case of \u003cem>Disgraced\u003c/em>, a lot of people think I’m Amir. But I’m all of those characters. The writers who affected me the most in my late childhood were the great Jewish-American writers Philip Roth and Saul Bellow, and Chaim Potok, and then later: Woody Allen, (Jerry) Seinfeld, Larry David. And those guys taught me how to think about my own work.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It comes once a year but it always deserves more attention: Nov. 20 is the annual Transgender Day of Rememberance, which was established back in 1999 to honor the memory of trans people who were the victims of violence. And though in 2015, the transgender community appears to be more visible in the media — Caitlyn Jenner, Laverne Cox, Janet Mock — the threat of injury and even death for those who are transgender or gender-nonconforming is just as bad as it has ever been. According to \u003ca href=\"http://www.thedailybeast.com/articles/2015/11/20/yes-we-still-need-a-transgender-day-of-remembrance-and-resilience.html\" target=\"_blank\" rel=\"noopener\">the Daily Beast\u003c/a>, the reported number of transgender victims of murder in 2015 has reached 21.\u003c/p>\n\u003cp>To help provide a perspective on what it’s like to be a part of the transgender community, we are re-posting a video from KQED’s ongoing series \u003ca href=\"http://ww2.kqed.org/stateofhealth/series/vital-signs/\" target=\"_blank\" rel=\"noopener\">Vital Signs\u003c/a> that follows two people — Jetta’Mae Carlisle and Jamie Nelson — as they undergo sexual re-assignment surgeries. Watch as they go through experiences that are both scary and exciting, and learn what they hope for their lives as they go forward.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It comes once a year but it always deserves more attention: Nov. 20 is the annual Transgender Day of Rememberance, which was established back in 1999 to honor the memory of trans people who were the victims of violence. And though in 2015, the transgender community appears to be more visible in the media — Caitlyn Jenner, Laverne Cox, Janet Mock — the threat of injury and even death for those who are transgender or gender-nonconforming is just as bad as it has ever been. According to \u003ca href=\"http://www.thedailybeast.com/articles/2015/11/20/yes-we-still-need-a-transgender-day-of-remembrance-and-resilience.html\" target=\"_blank\" rel=\"noopener\">the Daily Beast\u003c/a>, the reported number of transgender victims of murder in 2015 has reached 21.\u003c/p>\n\u003cp>To help provide a perspective on what it’s like to be a part of the transgender community, we are re-posting a video from KQED’s ongoing series \u003ca href=\"http://ww2.kqed.org/stateofhealth/series/vital-signs/\" target=\"_blank\" rel=\"noopener\">Vital Signs\u003c/a> that follows two people — Jetta’Mae Carlisle and Jamie Nelson — as they undergo sexual re-assignment surgeries. Watch as they go through experiences that are both scary and exciting, and learn what they hope for their lives as they go forward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "a-fierce-debate-about-art-and-identity-at-mills-college",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/233965145″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Talk to Assistant Professor Ann Murphy about the dance program at \u003ca href=\"http://www.mills.edu/\" target=\"_blank\" rel=\"noopener\">Mills College in Oakland\u003c/a>, and you get both a history lesson and a sense of why the art form matters so much at this small school for people who identify as women.\u003c/p>\n\u003cp>“It’s an emancipatory art form,” Murphy says, adding that dance is part of the DNA of a college where people who are denied a voice can speak.\u003c/p>\n\u003cp>“We had a student from Iran a year ago,” Murphy says. “She was arrested for dancing in Iran. She came here and found a home for herself. She was able to teach Persian folk dance, and able to elaborate on her own idiom.”\u003c/p>\n\u003cfigure id=\"attachment_11094602\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills-Dance-program.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills-Dance-program-1180x885.jpg\" alt=\"Dance Department Chair Sheldon Smith leading a class at Mills\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dance Department Chair Sheldon Smith leading a class at Mills \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mills is currently grappling with budget problems. A month ago, the college’s president proposed cuts to some programs, including the end of the dance major in the country’s oldest dance department.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Book Arts would go too, as would some language classes.\u003c/p>\n\u003cp>The administration is advertising the changes as a way to make the curriculum a better fit for students in the 21st century.\u003c/p>\n\u003cp>But many members of the Mills community are unhappy with the proposed developments. Students and faculty have been staging rallies and actions over the past few weeks, claiming the proposed cuts put Mills’ unique identity at risk.\u003c/p>\n\u003cp>Mills student Bhumi Patel is worried that if the dance major is cut, she won’t have anyone to choreograph for.\u003c/p>\n\u003cp>“We constantly talk about ‘where are the women choreographers,’” Patel says. “Where are the women artistic directors. Because we don’t see them. And places like Mills College send these young people out into the world to take on these leadership positions.”\u003c/p>\n\u003cp>You can find the same kind of passion and thoughtful arguments for saving arts programs from students in Book Arts.\u003c/p>\n\u003cp>Students Grace Forrest and Selena Matranga made miniature books — broadsides really — to hand out at a recent protest against the proposed cuts. Inside, the books read: “Not a neo-liberal business school” — a reference to the administration’s proposal to add a new data science program and a masters in economics.\u003c/p>\n\u003cfigure id=\"attachment_11094598\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/002.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/002-1180x885.jpg\" alt=\"Book Arts minors Selena Matranga and Grace Forrest, and Book Arts Professor Kathleen Walkup\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Book Arts minors Selena Matranga and Grace Forrest, and Book Arts Professor Kathleen Walkup \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matranga looked around at the old-fashioned print shop, with a letter press and drawers full of type fonts. She says Book Arts is a 21st century art form.\u003c/p>\n\u003cp>“It’s a historical grounding for all technology,” Matranga says. “How are you supposed to understand where you are now without considering the past.”\u003c/p>\n\u003cp>“What we’re being taught here is how to put ourselves out into the world,” Forrest says. “And that’s what Mills wants to do. They want to create passionate people who are engaged in society. And everything that happens in these classrooms is about that.”\u003c/p>\n\u003cp>Mills College \u003ca href=\"http://www.mills.edu/newpresident/biography.php\" target=\"_blank\" rel=\"noopener\">President Alecia DeCoudreaux s\u003c/a>ays she hears the critics. “We have gotten a lot of feedback, I would say most of it opposition,” DeCoudreaux says.\u003c/p>\n\u003cfigure id=\"attachment_11094604\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094604\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-1180x805.jpg\" alt=\"Mills President Alecia DeCoudreaux\" width=\"640\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-1920x1310.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-960x655.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mills President Alecia DeCoudreaux \u003ccite>(Courtesy Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DeCoudreaux emphasizes that the potential changes are still very much at the proposal stage. But the bond credit rating agency, Moody’s, downgraded the college’s credit rating two years ago, and DeCoudreaux says Mills has to reverse declines in enrollment and tuition income. This means some programs, like Book Arts, are at risk.\u003c/p>\n\u003cp>“Looking across the board at enrollment data, the contribution margins of the various programs, the Book Arts is one that causes us to have questions about its viability going forward,” DeCoudreaux says.\u003c/p>\n\u003cp>DeCoudreaux came to Mills in 2011 following a career in law and business. She says the school is taking too much out of its endowment to cover an annual deficit of about $3 million a year out of a budget of about $81 million.\u003c/p>\n\u003cp>“It’s work that we know we have to complete,”DeCoudreaux says. “There’s not a day that goes by that we’re not looking at what’s going on in other institutions.”\u003c/p>\n\u003cp>The economic turmoil at Mills isn’t too far away from the \u003ca href=\"http://www.nytimes.com/2015/06/24/us/sweet-briar-collegeis-saved-but-not-in-the-clear.html?_r=0\" target=\"_blank\" rel=\"noopener\">financial chaos that caused the near closure of Sweet Briar\u003c/a> a few months ago — another small woman’s college, based in Virginia. DeCoudreaux says Mills is looking at many ways to generate revenue, including hosting more weddings and leasing a parcel of the college for development.\u003c/p>\n\u003cp>DeCoudreaux says the school should expand its business offerings, as they’re popular with students, and that this can be done without endangering its mission.\u003c/p>\n\u003cp>“We’re not looking at one thing instead of the other,” DeCoudreaux says. “We’re very mindful of our mission. And our goals really are to strengthen it for the long term future of the college.”\u003c/p>\n\u003cfigure id=\"attachment_11094599\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094599\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/011-1180x885.jpg\" alt=\"Bula Maddison, a visiting assistant professor at MiIls College\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bula Maddison, a visiting assistant professor at MiIls College \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the midst of the protests, the college is also negotiating a new contract with adjunct faculty, who unionized last year.\u003c/p>\n\u003cp>The proposed cuts have motivated the Book Arts and Dance programs to look at how they can attract more students to generate more income, perhaps through offering new sessions in January and summer classes.\u003c/p>\n\u003cp>But dance professor Ann Murphy warns that the arts won’t survive if all that matters is the bottom line.\u003c/p>\n\u003cp>“It’s a problem if there’s a philosophical position that the arts are expendable and that the arts have to pay their own way,” Murphy says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mills College administrators have asked students and faculty to submit their best ideas for the future of their departments by December 1.\u003c/p>\n\n",
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"excerpt": "As Oakland's Mills College struggles financially, students and faculty fight to save dance and book arts programming.",
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"title": "A Fierce Debate About Art and Identity at Mills College | KQED",
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"headline": "A Fierce Debate About Art and Identity at Mills College",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/233965145″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/233965145″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Talk to Assistant Professor Ann Murphy about the dance program at \u003ca href=\"http://www.mills.edu/\" target=\"_blank\" rel=\"noopener\">Mills College in Oakland\u003c/a>, and you get both a history lesson and a sense of why the art form matters so much at this small school for people who identify as women.\u003c/p>\n\u003cp>“It’s an emancipatory art form,” Murphy says, adding that dance is part of the DNA of a college where people who are denied a voice can speak.\u003c/p>\n\u003cp>“We had a student from Iran a year ago,” Murphy says. “She was arrested for dancing in Iran. She came here and found a home for herself. She was able to teach Persian folk dance, and able to elaborate on her own idiom.”\u003c/p>\n\u003cfigure id=\"attachment_11094602\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills-Dance-program.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills-Dance-program-1180x885.jpg\" alt=\"Dance Department Chair Sheldon Smith leading a class at Mills\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dance Department Chair Sheldon Smith leading a class at Mills \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mills is currently grappling with budget problems. A month ago, the college’s president proposed cuts to some programs, including the end of the dance major in the country’s oldest dance department.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Book Arts would go too, as would some language classes.\u003c/p>\n\u003cp>The administration is advertising the changes as a way to make the curriculum a better fit for students in the 21st century.\u003c/p>\n\u003cp>But many members of the Mills community are unhappy with the proposed developments. Students and faculty have been staging rallies and actions over the past few weeks, claiming the proposed cuts put Mills’ unique identity at risk.\u003c/p>\n\u003cp>Mills student Bhumi Patel is worried that if the dance major is cut, she won’t have anyone to choreograph for.\u003c/p>\n\u003cp>“We constantly talk about ‘where are the women choreographers,’” Patel says. “Where are the women artistic directors. Because we don’t see them. And places like Mills College send these young people out into the world to take on these leadership positions.”\u003c/p>\n\u003cp>You can find the same kind of passion and thoughtful arguments for saving arts programs from students in Book Arts.\u003c/p>\n\u003cp>Students Grace Forrest and Selena Matranga made miniature books — broadsides really — to hand out at a recent protest against the proposed cuts. Inside, the books read: “Not a neo-liberal business school” — a reference to the administration’s proposal to add a new data science program and a masters in economics.\u003c/p>\n\u003cfigure id=\"attachment_11094598\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/002.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/002-1180x885.jpg\" alt=\"Book Arts minors Selena Matranga and Grace Forrest, and Book Arts Professor Kathleen Walkup\" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Book Arts minors Selena Matranga and Grace Forrest, and Book Arts Professor Kathleen Walkup \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matranga looked around at the old-fashioned print shop, with a letter press and drawers full of type fonts. She says Book Arts is a 21st century art form.\u003c/p>\n\u003cp>“It’s a historical grounding for all technology,” Matranga says. “How are you supposed to understand where you are now without considering the past.”\u003c/p>\n\u003cp>“What we’re being taught here is how to put ourselves out into the world,” Forrest says. “And that’s what Mills wants to do. They want to create passionate people who are engaged in society. And everything that happens in these classrooms is about that.”\u003c/p>\n\u003cp>Mills College \u003ca href=\"http://www.mills.edu/newpresident/biography.php\" target=\"_blank\" rel=\"noopener\">President Alecia DeCoudreaux s\u003c/a>ays she hears the critics. “We have gotten a lot of feedback, I would say most of it opposition,” DeCoudreaux says.\u003c/p>\n\u003cfigure id=\"attachment_11094604\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094604\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-1180x805.jpg\" alt=\"Mills President Alecia DeCoudreaux\" width=\"640\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-1920x1310.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mills_President_Alecia_A_DeCoudreaux-e1447978366619-960x655.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mills President Alecia DeCoudreaux \u003ccite>(Courtesy Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>DeCoudreaux emphasizes that the potential changes are still very much at the proposal stage. But the bond credit rating agency, Moody’s, downgraded the college’s credit rating two years ago, and DeCoudreaux says Mills has to reverse declines in enrollment and tuition income. This means some programs, like Book Arts, are at risk.\u003c/p>\n\u003cp>“Looking across the board at enrollment data, the contribution margins of the various programs, the Book Arts is one that causes us to have questions about its viability going forward,” DeCoudreaux says.\u003c/p>\n\u003cp>DeCoudreaux came to Mills in 2011 following a career in law and business. She says the school is taking too much out of its endowment to cover an annual deficit of about $3 million a year out of a budget of about $81 million.\u003c/p>\n\u003cp>“It’s work that we know we have to complete,”DeCoudreaux says. “There’s not a day that goes by that we’re not looking at what’s going on in other institutions.”\u003c/p>\n\u003cp>The economic turmoil at Mills isn’t too far away from the \u003ca href=\"http://www.nytimes.com/2015/06/24/us/sweet-briar-collegeis-saved-but-not-in-the-clear.html?_r=0\" target=\"_blank\" rel=\"noopener\">financial chaos that caused the near closure of Sweet Briar\u003c/a> a few months ago — another small woman’s college, based in Virginia. DeCoudreaux says Mills is looking at many ways to generate revenue, including hosting more weddings and leasing a parcel of the college for development.\u003c/p>\n\u003cp>DeCoudreaux says the school should expand its business offerings, as they’re popular with students, and that this can be done without endangering its mission.\u003c/p>\n\u003cp>“We’re not looking at one thing instead of the other,” DeCoudreaux says. “We’re very mindful of our mission. And our goals really are to strengthen it for the long term future of the college.”\u003c/p>\n\u003cfigure id=\"attachment_11094599\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11094599\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/011-1180x885.jpg\" alt=\"Bula Maddison, a visiting assistant professor at MiIls College\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/011-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bula Maddison, a visiting assistant professor at MiIls College \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the midst of the protests, the college is also negotiating a new contract with adjunct faculty, who unionized last year.\u003c/p>\n\u003cp>The proposed cuts have motivated the Book Arts and Dance programs to look at how they can attract more students to generate more income, perhaps through offering new sessions in January and summer classes.\u003c/p>\n\u003cp>But dance professor Ann Murphy warns that the arts won’t survive if all that matters is the bottom line.\u003c/p>\n\u003cp>“It’s a problem if there’s a philosophical position that the arts are expendable and that the arts have to pay their own way,” Murphy says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mills College administrators have asked students and faculty to submit their best ideas for the future of their departments by December 1.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sf-sketchfest-2016-includes-waiting-for-guffman-tribute-sally-field",
"title": "SF Sketchfest 2016 Includes 'Waiting For Guffman' Tribute, Sally Field",
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"headTitle": "SF Sketchfest 2016 Includes ‘Waiting For Guffman’ Tribute, Sally Field | KQED",
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"content": "\u003cp>The 2016 lineup for SF Sketchfest, San Francisco’s massively popular comedy festival, has been announced and just like previous years, it’s jam-packed and star-studded, with celebrities such as Sally Field, Jon Hamm and Parker Posey signed up for featured events.\u003c/p>\n\u003cp>Described as being “one of America’s most respected comedy festivals” by \u003ci>Rolling Stone,\u003c/i> next year’s SF Sketchfest — its 15th — will consist of over 200 events spread across over 16 days. Along with the sketch, stand up and improv comedy events that are the reason the festival started, there will be several film events, live game shows and podcast recordings, and even some events for the kids.\u003c/p>\n\u003cp>Top billing in the lineup is the 20th anniversary tribute to the hilarious Christopher Guest comedy \u003ci>Waiting For Guffman\u003c/i> that will include a cast reunion featuring Guest, Posey, Fred Willard and Bob Balaban. Also being featured is a in-person tribute to Oscar-winning actress Sally Field, who will have an on-stage conversation with comedic writer and actor Michael Showalter, and later show the movie they made together, \u003ci>Hello, My Name is Doris.\u003c/i>\u003c/p>\n\u003cp>Other featured events include the almost random-seeming pairing of comedian Patton Oswalt and Oakland rapper Boots Riley (of The Coup) for an “in conversation” event, and a performance by Jeff Goldblum and the Mildred Snitzer Orchestra.\u003c/p>\n\u003cp>Tickets range from $12 to $50 and go on sale Sunday, Nov. 22 at 10am. To buy tickets and and learn more information, go to \u003ca href=\"http://sfsketchfest.com/x/\" target=\"_blank\" rel=\"noopener\">sfsketchfest.com.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Check the list below for other events happening at SF Sketchfest.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>SF Sketchfest Tributes & Spotlights\u003c/strong>\u003c/p>\n\u003cp>● Tribute to “\u003cem>Waiting For Guffman\u003c/em>: Sesquicentennial + 20” with Bob Balaban, Christopher Guest, Parker Posey & Fred Willard\u003c/p>\n\u003cp>● Tribute to Sally Field: \u003cem>Hello, My Name Is Doris\u003c/em> Screening and Conversation with Sally Field & Michael Showalter\u003c/p>\n\u003cp>● Tribute to Jeff Goldblum: Conversation and Music with Jeff Goldblum and the Mildred Snitzer Orchestra\u003c/p>\n\u003cp>● Tribute to Patton Oswalt in Conversation with Boots Riley\u003c/p>\n\u003cp>● Tribute to \u003cem>Bob’s Burgers\u003c/em>: Loren Bouchard, Dan Mintz, Eugene Mirman, Larry Murphy, John Roberts & Kristen Schaal\u003c/p>\n\u003cp>● SF Sketchfest Comedy Writing Award: Dave Barry in Conversation\u003c/p>\n\u003cp>● Spotlight on \u003cem>Drunk History\u003c/em> with Derek Waters & Friends\u003c/p>\n\u003cp>\u003cstrong>Big Night Special Events\u003c/strong>\u003c/p>\n\u003cp>● Dave Foley, Kevin McDonald & Scott Thompson: Three Out of Five Ain’t Bad\u003c/p>\n\u003cp>● Facebook Improv with Owen Burke, Seth Morris, Paul Scheer and Charlie Sanders\u003c/p>\n\u003cp>● Morzouksnick with Nick Kroll, Jason Mantzoukas and Seth Morris\u003c/p>\n\u003cp>● Nerds and Music: A Night With Pat Rothfuss and Paul & Storm\u003c/p>\n\u003cp>● A Night with John Lurie in conversation with Parker Posey: \u003cem>Fishing with John\u003c/em> 25th Anniversary\u003c/p>\n\u003cp>● Noel Fielding and Bobcat Goldthwait in conversation\u003c/p>\n\u003cp>● NPR’s Ask Me Another\u003c/p>\n\u003cp>● Princess: Maya Rudolph and Gretchen Lieberum in an Evening of the Music of Prince\u003c/p>\n\u003cp>● \u003cem>Spontaneanation\u003c/em> with Paul F. Tompkins, Craig Cackowski, Matt Gourley, Janet Varney and Special Guest Jon Hamm\u003c/p>\n\u003cp>● \u003cem>StarTalk Live\u003c/em> with Bill Nye the Science Guy and Eugene Mirman\u003c/p>\n\u003cp>● Upright Citizens Brigade ASSSSCAT with Matt Besser, Ian Roberts, Matt Walsh, Jon Gabrus, Mary Holland, Brian Huskey and guest monologists Sally Field and Michael Showalter\u003c/p>\n\u003cp>\u003cstrong>Special Film & Video Events\u003c/strong>\u003c/p>\n\u003cp>● Found Footage Festival meets Everything is Terrible!\u003c/p>\n\u003cp>● \u003cem>Hey Monster, Hands Off My City\u003c/em> with Michael Meehan, Johnny Steele and Reggie Steele\u003c/p>\n\u003cp>● \u003cem>Hook\u003c/em> 25th Anniversary Screening with Dante Basco and James Madio (The Lost Boys’ Rufio and Don’t Ask)\u003c/p>\n\u003cp>● \u003cem>Hot Shots\u003c/em> 25th Anniversary with Jim Abrahams and Pat Proft\u003c/p>\n\u003cp>● RiffTrax Night of the Shorts VI with Michael J. Nelson, Kevin Murphy and Bill Corbett\u003c/p>\n\u003cp>● THE MADS ARE BACK! Live Movie Riffing with Trace Beaulieu and Frank Conniff\u003c/p>\n\u003cp>● \u003cem>Teen Witch\u003c/em>: The Peaches Christ Experience with Robyn Lively, Josh Miller and Mandy Ingber\u003c/p>\n\u003cp>\u003cstrong>Special Television Events\u003c/strong>\u003c/p>\n\u003cp>● \u003cem>BoJack Horseman\u003c/em> with Paul F. Tompkins, Lisa Hanawalt, Mike Hollingsworth and creator Raphael Bob-Waksberg\u003c/p>\n\u003cp>● \u003cem>Dr. Katz, Professional Therapist\u003c/em> Live\u003c/p>\n\u003cp>● \u003cem>Futurama\u003c/em>: Nothing New To Report with John DiMaggio, Maurice LaMarche, Lauren Tom and Billy West\u003c/p>\n\u003cp>● Galavanting with \u003cem>Galavant\u003c/em> with Timothy Omundson, Karen David, Mallory Jansen, Luke Youngblood and showrunners John Hoberg and Kat Likkel\u003c/p>\n\u003cp>● Pete & Pete Forever: \u003cem>The Adventures of Pete and Pete\u003c/em> Live with Michael C. Maronna, Danny Tamberelli, Toby Huss, Alison Fanelli, Rick Gomez, Mark Mulcahy, and creators Chris Viscardi and Will McRobb\u003c/p>\n\u003cp>● \u003cem>Sledge Hammer!\u003c/em> 30th Anniversary with creator Alan Spencer and more\u003c/p>\n\u003cp>● The Chris Gethard Show Presents: Chris Gethard versus Vacation Jason in a Literal Fight to the Death!\u003c/p>\n\u003cp>\u003cstrong>Special Theatrical Events\u003c/strong>\u003c/p>\n\u003cp>● Celebrity Autobiography with Pamela Adlon, Scott Adsit, Laraine Newman, Eugene Pack, Dayle Reyfel, Michael Urie and more\u003c/p>\n\u003cp>● Dead Pilots Society\u003c/p>\n\u003cp>● Workjuice Theater with Paget Brewster, Craig Cackowski, Mark Gagliardi, Marc Evan Jackson, Hal Lublin, Paul F. 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"excerpt": "The lineup for the SF Sketchfest's 15th year has been announced and it's jam-packed: 200 events over 16 days.",
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"title": "SF Sketchfest 2016 Includes 'Waiting For Guffman' Tribute, Sally Field | KQED",
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"headline": "SF Sketchfest 2016 Includes 'Waiting For Guffman' Tribute, Sally Field",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2016 lineup for SF Sketchfest, San Francisco’s massively popular comedy festival, has been announced and just like previous years, it’s jam-packed and star-studded, with celebrities such as Sally Field, Jon Hamm and Parker Posey signed up for featured events.\u003c/p>\n\u003cp>Described as being “one of America’s most respected comedy festivals” by \u003ci>Rolling Stone,\u003c/i> next year’s SF Sketchfest — its 15th — will consist of over 200 events spread across over 16 days. Along with the sketch, stand up and improv comedy events that are the reason the festival started, there will be several film events, live game shows and podcast recordings, and even some events for the kids.\u003c/p>\n\u003cp>Top billing in the lineup is the 20th anniversary tribute to the hilarious Christopher Guest comedy \u003ci>Waiting For Guffman\u003c/i> that will include a cast reunion featuring Guest, Posey, Fred Willard and Bob Balaban. Also being featured is a in-person tribute to Oscar-winning actress Sally Field, who will have an on-stage conversation with comedic writer and actor Michael Showalter, and later show the movie they made together, \u003ci>Hello, My Name is Doris.\u003c/i>\u003c/p>\n\u003cp>Other featured events include the almost random-seeming pairing of comedian Patton Oswalt and Oakland rapper Boots Riley (of The Coup) for an “in conversation” event, and a performance by Jeff Goldblum and the Mildred Snitzer Orchestra.\u003c/p>\n\u003cp>Tickets range from $12 to $50 and go on sale Sunday, Nov. 22 at 10am. To buy tickets and and learn more information, go to \u003ca href=\"http://sfsketchfest.com/x/\" target=\"_blank\" rel=\"noopener\">sfsketchfest.com.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Check the list below for other events happening at SF Sketchfest.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>SF Sketchfest Tributes & Spotlights\u003c/strong>\u003c/p>\n\u003cp>● Tribute to “\u003cem>Waiting For Guffman\u003c/em>: Sesquicentennial + 20” with Bob Balaban, Christopher Guest, Parker Posey & Fred Willard\u003c/p>\n\u003cp>● Tribute to Sally Field: \u003cem>Hello, My Name Is Doris\u003c/em> Screening and Conversation with Sally Field & Michael Showalter\u003c/p>\n\u003cp>● Tribute to Jeff Goldblum: Conversation and Music with Jeff Goldblum and the Mildred Snitzer Orchestra\u003c/p>\n\u003cp>● Tribute to Patton Oswalt in Conversation with Boots Riley\u003c/p>\n\u003cp>● Tribute to \u003cem>Bob’s Burgers\u003c/em>: Loren Bouchard, Dan Mintz, Eugene Mirman, Larry Murphy, John Roberts & Kristen Schaal\u003c/p>\n\u003cp>● SF Sketchfest Comedy Writing Award: Dave Barry in Conversation\u003c/p>\n\u003cp>● Spotlight on \u003cem>Drunk History\u003c/em> with Derek Waters & Friends\u003c/p>\n\u003cp>\u003cstrong>Big Night Special Events\u003c/strong>\u003c/p>\n\u003cp>● Dave Foley, Kevin McDonald & Scott Thompson: Three Out of Five Ain’t Bad\u003c/p>\n\u003cp>● Facebook Improv with Owen Burke, Seth Morris, Paul Scheer and Charlie Sanders\u003c/p>\n\u003cp>● Morzouksnick with Nick Kroll, Jason Mantzoukas and Seth Morris\u003c/p>\n\u003cp>● Nerds and Music: A Night With Pat Rothfuss and Paul & Storm\u003c/p>\n\u003cp>● A Night with John Lurie in conversation with Parker Posey: \u003cem>Fishing with John\u003c/em> 25th Anniversary\u003c/p>\n\u003cp>● Noel Fielding and Bobcat Goldthwait in conversation\u003c/p>\n\u003cp>● NPR’s Ask Me Another\u003c/p>\n\u003cp>● Princess: Maya Rudolph and Gretchen Lieberum in an Evening of the Music of Prince\u003c/p>\n\u003cp>● \u003cem>Spontaneanation\u003c/em> with Paul F. Tompkins, Craig Cackowski, Matt Gourley, Janet Varney and Special Guest Jon Hamm\u003c/p>\n\u003cp>● \u003cem>StarTalk Live\u003c/em> with Bill Nye the Science Guy and Eugene Mirman\u003c/p>\n\u003cp>● Upright Citizens Brigade ASSSSCAT with Matt Besser, Ian Roberts, Matt Walsh, Jon Gabrus, Mary Holland, Brian Huskey and guest monologists Sally Field and Michael Showalter\u003c/p>\n\u003cp>\u003cstrong>Special Film & Video Events\u003c/strong>\u003c/p>\n\u003cp>● Found Footage Festival meets Everything is Terrible!\u003c/p>\n\u003cp>● \u003cem>Hey Monster, Hands Off My City\u003c/em> with Michael Meehan, Johnny Steele and Reggie Steele\u003c/p>\n\u003cp>● \u003cem>Hook\u003c/em> 25th Anniversary Screening with Dante Basco and James Madio (The Lost Boys’ Rufio and Don’t Ask)\u003c/p>\n\u003cp>● \u003cem>Hot Shots\u003c/em> 25th Anniversary with Jim Abrahams and Pat Proft\u003c/p>\n\u003cp>● RiffTrax Night of the Shorts VI with Michael J. 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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"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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"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.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"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/",
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},
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"id": "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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"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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"hidden-brain": {
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"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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"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
},
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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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},
"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/",
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"link": "/radio/program/latino-usa",
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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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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"
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"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",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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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",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"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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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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