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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Have you been missing Jon Stewart recently? Yeah, me too. Have you spent many days staring out your window looking up at the sky wondering where he is, while singing \"\u003ca href=\"https://www.youtube.com/watch?v=l_iRdgGZ6Xc\" target=\"_blank\">Somewhere Out There\u003c/a>\" from \u003cem>An American Tail\u003c/em>? Oh, just me? Whatever; we all cope with loss in our individual ways.\u003c/p>\n\u003cp>No matter how you express your I-miss-Jon grief, you'll be happy to hear this breaking news: Stewart just signed \u003ca href=\"http://www.hollywoodreporter.com/live-feed/jon-stewart-headed-hbo-four-836443\" target=\"_blank\">a four-year deal\u003c/a> with HBO! He won't be embarking on a new \u003cem>Daily Show\u003c/em>-esque project just yet, but he will get things started by producing short videos that \"view current events through his unique prism\" for HBO Go and HBO Now (better make sure you sister/friend/ex hasn't changed their password!).\u003c/p>\n\u003cp>Stewart had this to say about his new gig: \"Appearing on television 22 minutes a night clearly broke me. I’m pretty sure I can produce a few minutes of content every now and again.\" We can't wait to savor each meager minute of it!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Election 2015: A Breakdown of SF Mayoral Candidates' Plans for the Arts",
"headTitle": "Election 2015: A Breakdown of SF Mayoral Candidates’ Plans for the Arts | KQED",
"content": "\u003cp>On Tuesday, San Francisco voters will take to the polls to decide if Mayor Ed Lee continues to represent their interests. Among those voters are the \u003ca href=\"http://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">dwindling number of artists\u003c/a> who live in the city. Whichever candidate is chosen, he or she will impact the future of the local arts community, be it through funding decisions, housing policies, or other variables.\u003c/p>\n\u003cp>After reading the candidates’ websites and finding little to address the future of San Francisco’s arts community, I reached out to them to ask three questions:\u003c/p>\n\u003col>\n\u003cli>What are the most pressing issues currently facing artists in San Francisco?\u003c/li>\n\u003cli>If elected, how would you use the position to help local artists?\u003c/li>\n\u003cli>What else would you like to do for the local arts scene if elected?\u003c/li>\n\u003c/ol>\n\u003cp>Below are the unedited answers from those who replied. For those who didn’t reply, we’ve studied up and provided some brief analysis on how they might answer. \u003ci>(For more information on the 2015 election, please see KQED’s \u003ca href=\"http://ww2.kqed.org/news/tag/2015-election\" target=\"_blank\" rel=\"noopener\">November 2015 Election Guides\u003c/a>.\u003c/i>)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MAyor-Ed-LEe-large.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MAyor-Ed-LEe-large-1180x787.jpg\" alt=\"MAyor Ed LEe large\" width=\"640\" height=\"427\" class=\"aligncenter size-large wp-image-11053214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MAyor-Ed-LEe-large-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MAyor-Ed-LEe-large-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MAyor-Ed-LEe-large-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MAyor-Ed-LEe-large.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MAyor-Ed-LEe-large-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cbr>\n\u003ca href=\"http://www.mayoredlee.com/about\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch2>Mayor Ed Lee\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though the incumbent mayor has proven difficult to reach, a look at Lee’s record speaks volumes about his priorities in the arts. Yes, his pro-tech policies have been blamed for the \u003ca href=\"http://www.businessinsider.com/san-francisco-tech-mayor-ed-lee-faces-cakewalk-reelection-campaign-2015-6\" target=\"_blank\" rel=\"noopener\">recent exodus of longtime San Francisco artists\u003c/a>, but he’s also acted to alleviate financial pressures for artists; in May, Lee’s office announced a plan to invest \u003ca href=\"http://www.sfartscommission.org/2015/05/mayor-lee-announces-7-million-shared-prosperty-package-to-support-arts/\" target=\"_blank\" rel=\"noopener\">$7 million in programs supporting the arts\u003c/a> over the next two years. The “Shared Prosperity for the Arts Package” provides financial support to local arts organizations and $1 million in grants that may be used to rent or purchase artistic spaces — in addition to funding for the San Francisco Arts Commission (SFAC) to research the feasibility of \u003ca href=\"http://www.sfstation.com/2015/06/05/sf-commits-7-million-to-support-the-arts/\" target=\"_blank\" rel=\"noopener\">providing affordable housing to artists\u003c/a>. \u003c/p>\n\u003cp>“Artists have played an immeasurable role in shaping San Francisco into the city it is today,” said Lee, after the funding increase was announced. “The arts and culture sector also helps fuel our economy, drawing $1.7 billion in tourism each year. That is why we must act now to keep artists here so that they can continue to contribute to the vitality of our city. This increase in arts funding will help ensure that artists can share in the prosperity of this rapidly growing economy.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Stuart-Schuffman.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Stuart-Schuffman.jpg\" alt='\"Broke Ass\" Stuart Schuffman' width=\"668\" height=\"445\" class=\"aligncenter size-full wp-image-11053102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Stuart-Schuffman.jpg 668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Stuart-Schuffman-400x266.jpg 400w\" sizes=\"(max-width: 668px) 100vw, 668px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://brokeassmayor.nationbuilder.com/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch2>“Broke Ass” Stuart Schuffman\u003c/h2>\n\u003cp>\u003cbr>\n\u003ca href=\"http://www.imdb.com/title/tt1951034/\" target=\"_blank\" rel=\"noopener\">Former TV show host \u003c/a>turned Bay Area blogger/character, “Broke Ass” Stuart Schuffman is a tireless self-promotion machine who jumped into the mayoral race “because the world needs San Francisco to be the haven for people who don’t fit in anywhere else.” He’s also said that he’s running as a “\u003ca href=\"http://www.sfbg.com/2015/10/19/endorsements-2015?page=0,3\" target=\"_blank\" rel=\"noopener\">journalistic experiment\u003c/a>,” yet his tenacious campaigning exudes a seemingly genuine desire to help the city. Here are his answers:\u003c/p>\n\u003cp>\u003cstrong>What are the most pressing issues currently facing artists in San Francisco?\u003c/strong>\u003c/p>\n\u003cp>The most pressing thing for artists in SF is the lack of affordable housing and workspace. So many people I know have been evicted, or displaced in other ways, and what was once a thriving and pulsating art scene has been dealt a massive blow. It’s been heartbreaking to see so many of our best and brightest have to leave the city and go to Oakland, Portland, LA or somewhere else.\u003c/p>\n\u003cp>\u003cstrong>If elected, how would you use the position to help local artists?\u003c/strong>\u003c/p>\n\u003cp>I’d like the city to invest in more housing and workspace and figure out ways to protect the little that we already have. I’d also like to see \u003ca href=\"https://twitter.com/mspsegal\" target=\"_blank\" rel=\"noopener\">P Segal\u003c/a>’s \u003ca href=\"https://sanfranciscoarthouses.wordpress.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Art House Project\u003c/a> take flight. The idea for it is: we have so many tech incubators, why don’t we have any art incubators? The Art House Project would be one of them.\u003c/p>\n\u003cp>\u003cstrong>What else would you like to do for the local arts scene if elected?\u003c/strong>\u003c/p>\n\u003cp>I’d love to put more of the city’s arts funding towards public art projects. It’s great that it currently goes to supporting such things as the opera and the symphony, but I’d love to be able to create more art grants that help local artists get to create art that lives in our glorious city.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Any-Farah-Weiss.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Any-Farah-Weiss.jpg\" alt=\"Amy Farah Weiss\" width=\"668\" height=\"445\" class=\"aligncenter size-full wp-image-11053103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Any-Farah-Weiss.jpg 668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Any-Farah-Weiss-400x266.jpg 400w\" sizes=\"(max-width: 668px) 100vw, 668px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.thinktwicevoteweiss.com/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch2>Amy Farah Weiss\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Amy Farah Weiss made a name for herself when she led the charge against the construction of a \u003ca href=\"http://hoodline.com/2011/10/occupy401divis-movement-planning-boycott-of-chase-bank\" target=\"_blank\" rel=\"noopener\">Chase Bank on Oak and Divisadero streets\u003c/a> — favored by Lee’s Office of Economic and Workforce Development — which displaced two small, independently-owned businesses. With decades of experience in the nonprofit sector, she is outwardly passionate about helping the little guy.\u003c/p>\n\u003cp>\u003cstrong>What are the most pressing issues currently facing artists in San Francisco?\u003c/strong>\u003c/p>\n\u003cp>According to the Arts Element of the San Francisco General Plan, our city has a goal to recognize the arts as necessary to the quality of life for all segments of San Francisco. However, the culture makers, arts organizations, and cultural venues that contribute to the unique city-wide and neighborhood character of San Francisco have been experiencing rapid displacement due to the economic and development policies instated by the Lee administration after the global financial collapse. For instance, public utilities of culture such as the Elbo Room, the Hemlock Tavern, and CELLspace/InnerMission have all been threatened with displacement for new development projects over the past year, and displacement of our neighbors and cultural contributors (including artists) through evictions has skyrocketed since Lee took office in 2011.\u003c/p>\n\u003cp>\u003cstrong>If elected, how would you use the position to help local artists?\u003c/strong>\u003c/p>\n\u003cp>Over the last 11 months of my mayoral campaign I have engaged in grassroots efforts to protect at-risk artist studios and cultural venues (such as Inner Mission/CELLspace at 2050 Bryant and the Redlick Building at Mission and 17th) and participated in the call for increased funding for artists who support neighborhood cultural enrichment through Arts for a Better Bay Area (ABBA). I will continue taking a stand to protect cultural venues and arts organizations and will also work with city-wide arts and culture organizations and artists to develop and implement new programs that employ artists in service to the well-being of our neighborhoods. One of my first acts as Mayor will be to begin a voluntary housing-affordability registry for people who work in the city (including artists) and currently pay more than 30% of their income for rent. This registry will ultimately be used in order to connect low- to mid-income workers with affordable housing opportunities (some of which will be developed through my plan to support the financing, design, and construction of additional dwelling units within thousands of parcels already identified by the Planning Department).\u003c/p>\n\u003cp>\u003cstrong>What else would you like to do for the local arts scene if elected?\u003c/strong>\u003c/p>\n\u003cp>Neighbors Developing Divisadero (the community-based organization I founded in support of inclusive, culturally-enriching, and sustainable development in 2011) has been fiscally sponsored by Intersection for the Arts’ Incubator Program for over a year now. I will work towards enhancing programs such as Intersection’s incubator services that provide much-needed funding and management support to both established and emerging artists. My “transitional eco-village” policy solution for providing interim housing and additional services for thousands of our homeless neighbors will re-activate and beautify over 100 underutilized and blighted city properties (as indexed by Cal Berkeley professor Nicholas de Monchaux’s Local Code project) and provide employment for mental health/public health workers, permaculture workers, local artists, manufacturers, and the Burning Man community (headquartered in SF) in support of well-being, space-making and off-grid technologies.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Reed-MArtin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Reed-MArtin.jpg\" alt=\"Reed Martin\" width=\"640\" height=\"426\" class=\"aligncenter size-full wp-image-11053100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Reed-MArtin.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Reed-MArtin-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://mayorgrandsf.org/about/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch2>Reed Martin\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Reed Martin is a designer and tech sector employee with a significant amount of local political experience. An avowed independent, he’s worked on several local political campaigns (last year’s Props A and B) and served on the the San Francisco Transit Riders board. \u003c/p>\n\u003cp>\u003cstrong>What are the most pressing issues currently facing artists in San Francisco?\u003c/strong>\u003c/p>\n\u003cp>Today, affordability and lack of space are the biggest issues facing artists in San Francisco. As we’ve seen real-estate costs skyrocket, it becomes too expensive to live in San Francisco and to house spaces that support the arts. In the last few years alone, we’ve seen a number of studio spaces get priced out of the Mission and live/work spaces get converted to offices or condos.\u003c/p>\n\u003cp>\u003cstrong>If elected, how would you use the position to help local artists?\u003c/strong>\u003c/p>\n\u003cp>The San Francisco General Plan lays out a great framework for commitment to the arts, but it hasn’t been meaningfully updated in decades. There are a few policies we should enact immediately to protect affordability for artists.\u003c/p>\n\u003cp>First, we need a comprehensive purchasing program from the city to purchase and maintain art space, managed by the Arts Commission. My plan calls for initially setting aside up to $250 million for these purchases. In addition to strengthening zoning laws on existing art spaces, the city would require first right of refusal on any property currently zoned for art activities, as well as on a number of properties that are identified as potential future space. Any time these properties change hands, the city would have the option to purchase the property before being made available to third parties.\u003c/p>\n\u003cp>Second, we need to simplify applications for affordable housing and Below-Market Rate units for artists. One critical concern today is that these applications require income reporting and forecasting, something that artists frequently find difficult as their income is inconsistent throughout the year.\u003c/p>\n\u003cp>Third, we need to work strongly with the large number of tech companies in the Bay Area to help ensure a commitment to the arts. National art foundations and endowments have been decreasing funding across the country; we simply cannot rely on national funds to provide adequate support to local artists. As we’ve seen with a number of collaborations, from sponsorship of the Bay Lights project to tech/art space like Code & Canvas, there is great opportunity to leverage the tech industry’s creative side to ensure a commitment to the arts in San Francisco.\u003c/p>\n\u003cp>\u003cstrong>What else would you like to do for the local arts scene if elected?\u003c/strong>\u003c/p>\n\u003cp>Celebrating the arts in San Francisco goes beyond affordability, letting San Franciscans of all walks of life embrace and gain exposure to our vibrant art scene. From music to literature to painting to media arts, San Francisco can celebrate the power of art in our city in our public space. That means actively encouraging and supporting art in our neighborhoods and on our streets.\u003c/p>\n\u003cp>One of my visions is to create a San Francisco “Nuit Blanche,” an all-night arts festival happening in cities around the world. Traditional museums, public art galleries, and cultural institutions would stay open all night free of charge. Designated spots around San Francisco from the Embarcadero to Golden Gate’s Music Concourse would be closed off and turned into public art space for galleries, performances, and cultural celebrations.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Francsico-Herrera.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Francsico-Herrera.jpg\" alt=\"Francsico Herrera\" width=\"668\" height=\"445\" class=\"aligncenter size-full wp-image-11053101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Francsico-Herrera.jpg 668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Francsico-Herrera-400x266.jpg 400w\" sizes=\"(max-width: 668px) 100vw, 668px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.peoplescampaign.net/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch2>Francisco Herrera\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>A longtime local activist who co-founded the \u003ca href=\"http://www.sfdaylabor.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Day Labor Program,\u003c/a> Francisco Herrera has yet to answer our questions, despite repeated requests. But being a musician who has his own \u003ca href=\"https://www.youtube.com/watch?v=X-CCtN7ScMc\" target=\"_blank\" rel=\"noopener\">campaign theme song\u003c/a>, and who even sang a capella at a \u003ca href=\"http://ww2.kqed.org/news/2015/10/12/guide-to-s-f-mayoral-candidates-lee-vs-people-powered-challengers\" target=\"_blank\" rel=\"noopener\">forum organized by the San Francisco League of Women Voters\u003c/a>, we have a feeling that the needs of local artists are on his mind.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/KEnt-Graham.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/KEnt-Graham.jpg\" alt=\"Kent Graham\" width=\"668\" height=\"445\" class=\"aligncenter size-full wp-image-11053099\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KEnt-Graham.jpg 668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KEnt-Graham-400x266.jpg 400w\" sizes=\"(max-width: 668px) 100vw, 668px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kentgraham4mayor.com/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch2>Kent Graham\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Candidate Kent Graham is a \u003ca href=\"http://goo.gl/voFh0a\" target=\"_blank\" rel=\"noopener\">retired hospital administrator\u003c/a> with 35 years of business management experience who says he’s running because he feels that “San Francisco deserves a manager running the show and not a politician.” After repeated requests for input, and after hours of scouring online for any of his opinions on San Francisco’s arts scene, we have come up empty-handed. If he does get back to us, we will post his responses here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Check back to this story for updates.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, San Francisco voters will take to the polls to decide if Mayor Ed Lee continues to represent their interests. Among those voters are the \u003ca href=\"http://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">dwindling number of artists\u003c/a> who live in the city. Whichever candidate is chosen, he or she will impact the future of the local arts community, be it through funding decisions, housing policies, or other variables.\u003c/p>\n\u003cp>After reading the candidates’ websites and finding little to address the future of San Francisco’s arts community, I reached out to them to ask three questions:\u003c/p>\n\u003col>\n\u003cli>What are the most pressing issues currently facing artists in San Francisco?\u003c/li>\n\u003cli>If elected, how would you use the position to help local artists?\u003c/li>\n\u003cli>What else would you like to do for the local arts scene if elected?\u003c/li>\n\u003c/ol>\n\u003cp>Below are the unedited answers from those who replied. For those who didn’t reply, we’ve studied up and provided some brief analysis on how they might answer. \u003ci>(For more information on the 2015 election, please see KQED’s \u003ca href=\"http://ww2.kqed.org/news/tag/2015-election\" target=\"_blank\" rel=\"noopener\">November 2015 Election Guides\u003c/a>.\u003c/i>)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MAyor-Ed-LEe-large.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MAyor-Ed-LEe-large-1180x787.jpg\" alt=\"MAyor Ed LEe large\" width=\"640\" height=\"427\" class=\"aligncenter size-large wp-image-11053214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MAyor-Ed-LEe-large-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MAyor-Ed-LEe-large-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MAyor-Ed-LEe-large-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MAyor-Ed-LEe-large.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MAyor-Ed-LEe-large-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cbr>\n\u003ca href=\"http://www.mayoredlee.com/about\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch2>Mayor Ed Lee\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the incumbent mayor has proven difficult to reach, a look at Lee’s record speaks volumes about his priorities in the arts. Yes, his pro-tech policies have been blamed for the \u003ca href=\"http://www.businessinsider.com/san-francisco-tech-mayor-ed-lee-faces-cakewalk-reelection-campaign-2015-6\" target=\"_blank\" rel=\"noopener\">recent exodus of longtime San Francisco artists\u003c/a>, but he’s also acted to alleviate financial pressures for artists; in May, Lee’s office announced a plan to invest \u003ca href=\"http://www.sfartscommission.org/2015/05/mayor-lee-announces-7-million-shared-prosperty-package-to-support-arts/\" target=\"_blank\" rel=\"noopener\">$7 million in programs supporting the arts\u003c/a> over the next two years. The “Shared Prosperity for the Arts Package” provides financial support to local arts organizations and $1 million in grants that may be used to rent or purchase artistic spaces — in addition to funding for the San Francisco Arts Commission (SFAC) to research the feasibility of \u003ca href=\"http://www.sfstation.com/2015/06/05/sf-commits-7-million-to-support-the-arts/\" target=\"_blank\" rel=\"noopener\">providing affordable housing to artists\u003c/a>. \u003c/p>\n\u003cp>“Artists have played an immeasurable role in shaping San Francisco into the city it is today,” said Lee, after the funding increase was announced. “The arts and culture sector also helps fuel our economy, drawing $1.7 billion in tourism each year. That is why we must act now to keep artists here so that they can continue to contribute to the vitality of our city. This increase in arts funding will help ensure that artists can share in the prosperity of this rapidly growing economy.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Stuart-Schuffman.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Stuart-Schuffman.jpg\" alt='\"Broke Ass\" Stuart Schuffman' width=\"668\" height=\"445\" class=\"aligncenter size-full wp-image-11053102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Stuart-Schuffman.jpg 668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Stuart-Schuffman-400x266.jpg 400w\" sizes=\"(max-width: 668px) 100vw, 668px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://brokeassmayor.nationbuilder.com/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch2>“Broke Ass” Stuart Schuffman\u003c/h2>\n\u003cp>\u003cbr>\n\u003ca href=\"http://www.imdb.com/title/tt1951034/\" target=\"_blank\" rel=\"noopener\">Former TV show host \u003c/a>turned Bay Area blogger/character, “Broke Ass” Stuart Schuffman is a tireless self-promotion machine who jumped into the mayoral race “because the world needs San Francisco to be the haven for people who don’t fit in anywhere else.” He’s also said that he’s running as a “\u003ca href=\"http://www.sfbg.com/2015/10/19/endorsements-2015?page=0,3\" target=\"_blank\" rel=\"noopener\">journalistic experiment\u003c/a>,” yet his tenacious campaigning exudes a seemingly genuine desire to help the city. Here are his answers:\u003c/p>\n\u003cp>\u003cstrong>What are the most pressing issues currently facing artists in San Francisco?\u003c/strong>\u003c/p>\n\u003cp>The most pressing thing for artists in SF is the lack of affordable housing and workspace. So many people I know have been evicted, or displaced in other ways, and what was once a thriving and pulsating art scene has been dealt a massive blow. It’s been heartbreaking to see so many of our best and brightest have to leave the city and go to Oakland, Portland, LA or somewhere else.\u003c/p>\n\u003cp>\u003cstrong>If elected, how would you use the position to help local artists?\u003c/strong>\u003c/p>\n\u003cp>I’d like the city to invest in more housing and workspace and figure out ways to protect the little that we already have. I’d also like to see \u003ca href=\"https://twitter.com/mspsegal\" target=\"_blank\" rel=\"noopener\">P Segal\u003c/a>’s \u003ca href=\"https://sanfranciscoarthouses.wordpress.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Art House Project\u003c/a> take flight. The idea for it is: we have so many tech incubators, why don’t we have any art incubators? The Art House Project would be one of them.\u003c/p>\n\u003cp>\u003cstrong>What else would you like to do for the local arts scene if elected?\u003c/strong>\u003c/p>\n\u003cp>I’d love to put more of the city’s arts funding towards public art projects. It’s great that it currently goes to supporting such things as the opera and the symphony, but I’d love to be able to create more art grants that help local artists get to create art that lives in our glorious city.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Any-Farah-Weiss.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Any-Farah-Weiss.jpg\" alt=\"Amy Farah Weiss\" width=\"668\" height=\"445\" class=\"aligncenter size-full wp-image-11053103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Any-Farah-Weiss.jpg 668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Any-Farah-Weiss-400x266.jpg 400w\" sizes=\"(max-width: 668px) 100vw, 668px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.thinktwicevoteweiss.com/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch2>Amy Farah Weiss\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Amy Farah Weiss made a name for herself when she led the charge against the construction of a \u003ca href=\"http://hoodline.com/2011/10/occupy401divis-movement-planning-boycott-of-chase-bank\" target=\"_blank\" rel=\"noopener\">Chase Bank on Oak and Divisadero streets\u003c/a> — favored by Lee’s Office of Economic and Workforce Development — which displaced two small, independently-owned businesses. With decades of experience in the nonprofit sector, she is outwardly passionate about helping the little guy.\u003c/p>\n\u003cp>\u003cstrong>What are the most pressing issues currently facing artists in San Francisco?\u003c/strong>\u003c/p>\n\u003cp>According to the Arts Element of the San Francisco General Plan, our city has a goal to recognize the arts as necessary to the quality of life for all segments of San Francisco. However, the culture makers, arts organizations, and cultural venues that contribute to the unique city-wide and neighborhood character of San Francisco have been experiencing rapid displacement due to the economic and development policies instated by the Lee administration after the global financial collapse. For instance, public utilities of culture such as the Elbo Room, the Hemlock Tavern, and CELLspace/InnerMission have all been threatened with displacement for new development projects over the past year, and displacement of our neighbors and cultural contributors (including artists) through evictions has skyrocketed since Lee took office in 2011.\u003c/p>\n\u003cp>\u003cstrong>If elected, how would you use the position to help local artists?\u003c/strong>\u003c/p>\n\u003cp>Over the last 11 months of my mayoral campaign I have engaged in grassroots efforts to protect at-risk artist studios and cultural venues (such as Inner Mission/CELLspace at 2050 Bryant and the Redlick Building at Mission and 17th) and participated in the call for increased funding for artists who support neighborhood cultural enrichment through Arts for a Better Bay Area (ABBA). I will continue taking a stand to protect cultural venues and arts organizations and will also work with city-wide arts and culture organizations and artists to develop and implement new programs that employ artists in service to the well-being of our neighborhoods. One of my first acts as Mayor will be to begin a voluntary housing-affordability registry for people who work in the city (including artists) and currently pay more than 30% of their income for rent. This registry will ultimately be used in order to connect low- to mid-income workers with affordable housing opportunities (some of which will be developed through my plan to support the financing, design, and construction of additional dwelling units within thousands of parcels already identified by the Planning Department).\u003c/p>\n\u003cp>\u003cstrong>What else would you like to do for the local arts scene if elected?\u003c/strong>\u003c/p>\n\u003cp>Neighbors Developing Divisadero (the community-based organization I founded in support of inclusive, culturally-enriching, and sustainable development in 2011) has been fiscally sponsored by Intersection for the Arts’ Incubator Program for over a year now. I will work towards enhancing programs such as Intersection’s incubator services that provide much-needed funding and management support to both established and emerging artists. My “transitional eco-village” policy solution for providing interim housing and additional services for thousands of our homeless neighbors will re-activate and beautify over 100 underutilized and blighted city properties (as indexed by Cal Berkeley professor Nicholas de Monchaux’s Local Code project) and provide employment for mental health/public health workers, permaculture workers, local artists, manufacturers, and the Burning Man community (headquartered in SF) in support of well-being, space-making and off-grid technologies.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Reed-MArtin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Reed-MArtin.jpg\" alt=\"Reed Martin\" width=\"640\" height=\"426\" class=\"aligncenter size-full wp-image-11053100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Reed-MArtin.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Reed-MArtin-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://mayorgrandsf.org/about/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch2>Reed Martin\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Reed Martin is a designer and tech sector employee with a significant amount of local political experience. An avowed independent, he’s worked on several local political campaigns (last year’s Props A and B) and served on the the San Francisco Transit Riders board. \u003c/p>\n\u003cp>\u003cstrong>What are the most pressing issues currently facing artists in San Francisco?\u003c/strong>\u003c/p>\n\u003cp>Today, affordability and lack of space are the biggest issues facing artists in San Francisco. As we’ve seen real-estate costs skyrocket, it becomes too expensive to live in San Francisco and to house spaces that support the arts. In the last few years alone, we’ve seen a number of studio spaces get priced out of the Mission and live/work spaces get converted to offices or condos.\u003c/p>\n\u003cp>\u003cstrong>If elected, how would you use the position to help local artists?\u003c/strong>\u003c/p>\n\u003cp>The San Francisco General Plan lays out a great framework for commitment to the arts, but it hasn’t been meaningfully updated in decades. There are a few policies we should enact immediately to protect affordability for artists.\u003c/p>\n\u003cp>First, we need a comprehensive purchasing program from the city to purchase and maintain art space, managed by the Arts Commission. My plan calls for initially setting aside up to $250 million for these purchases. In addition to strengthening zoning laws on existing art spaces, the city would require first right of refusal on any property currently zoned for art activities, as well as on a number of properties that are identified as potential future space. Any time these properties change hands, the city would have the option to purchase the property before being made available to third parties.\u003c/p>\n\u003cp>Second, we need to simplify applications for affordable housing and Below-Market Rate units for artists. One critical concern today is that these applications require income reporting and forecasting, something that artists frequently find difficult as their income is inconsistent throughout the year.\u003c/p>\n\u003cp>Third, we need to work strongly with the large number of tech companies in the Bay Area to help ensure a commitment to the arts. National art foundations and endowments have been decreasing funding across the country; we simply cannot rely on national funds to provide adequate support to local artists. As we’ve seen with a number of collaborations, from sponsorship of the Bay Lights project to tech/art space like Code & Canvas, there is great opportunity to leverage the tech industry’s creative side to ensure a commitment to the arts in San Francisco.\u003c/p>\n\u003cp>\u003cstrong>What else would you like to do for the local arts scene if elected?\u003c/strong>\u003c/p>\n\u003cp>Celebrating the arts in San Francisco goes beyond affordability, letting San Franciscans of all walks of life embrace and gain exposure to our vibrant art scene. From music to literature to painting to media arts, San Francisco can celebrate the power of art in our city in our public space. That means actively encouraging and supporting art in our neighborhoods and on our streets.\u003c/p>\n\u003cp>One of my visions is to create a San Francisco “Nuit Blanche,” an all-night arts festival happening in cities around the world. Traditional museums, public art galleries, and cultural institutions would stay open all night free of charge. Designated spots around San Francisco from the Embarcadero to Golden Gate’s Music Concourse would be closed off and turned into public art space for galleries, performances, and cultural celebrations.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Francsico-Herrera.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Francsico-Herrera.jpg\" alt=\"Francsico Herrera\" width=\"668\" height=\"445\" class=\"aligncenter size-full wp-image-11053101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Francsico-Herrera.jpg 668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Francsico-Herrera-400x266.jpg 400w\" sizes=\"(max-width: 668px) 100vw, 668px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.peoplescampaign.net/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch2>Francisco Herrera\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>A longtime local activist who co-founded the \u003ca href=\"http://www.sfdaylabor.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Day Labor Program,\u003c/a> Francisco Herrera has yet to answer our questions, despite repeated requests. But being a musician who has his own \u003ca href=\"https://www.youtube.com/watch?v=X-CCtN7ScMc\" target=\"_blank\" rel=\"noopener\">campaign theme song\u003c/a>, and who even sang a capella at a \u003ca href=\"http://ww2.kqed.org/news/2015/10/12/guide-to-s-f-mayoral-candidates-lee-vs-people-powered-challengers\" target=\"_blank\" rel=\"noopener\">forum organized by the San Francisco League of Women Voters\u003c/a>, we have a feeling that the needs of local artists are on his mind.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/KEnt-Graham.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/KEnt-Graham.jpg\" alt=\"Kent Graham\" width=\"668\" height=\"445\" class=\"aligncenter size-full wp-image-11053099\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KEnt-Graham.jpg 668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/KEnt-Graham-400x266.jpg 400w\" sizes=\"(max-width: 668px) 100vw, 668px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kentgraham4mayor.com/\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch2>Kent Graham\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Candidate Kent Graham is a \u003ca href=\"http://goo.gl/voFh0a\" target=\"_blank\" rel=\"noopener\">retired hospital administrator\u003c/a> with 35 years of business management experience who says he’s running because he feels that “San Francisco deserves a manager running the show and not a politician.” After repeated requests for input, and after hours of scouring online for any of his opinions on San Francisco’s arts scene, we have come up empty-handed. If he does get back to us, we will post his responses here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Check back to this story for updates.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "For Day of the Dead, Families Turn to Nicho Art to Ease Grief",
"title": "For Day of the Dead, Families Turn to Nicho Art to Ease Grief",
"headTitle": "State of Health | KQED News",
"content": "\u003cp>Carmen Gonzalez combs through pictures of her youngest son, Jacob. She picks one that shows him in boxing gear, his gloved fists raised. He looks straight at the camera. In another, he’s more relaxed, with his long, wavy hair reaching down to his shoulders. His arm hangs around his mother.\u003c/p>\n\u003cp>“My son was a very charming, popular kid with girls,” says Gonzalez. “He was funny, and he always had a smiling face. No one could resist him.”\u003c/p>\n\u003cp>Two years ago, when Jacob was 17, he was accidentally killed by a friend who shot him in the back while they sat in a parking lot.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/230868753\" 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>“Instead of waiting for a kid to graduate from high school or drive his own car, we have nothing. He just left. And he left us with an empty heart, because we love him so much,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gonzalez felt a deep sense of injustice over her son’s sudden death. She became depressed and angry. That’s when she decided to look for help and came to a grief group at Oakland's La Clinica de la Raza. Participants meet weekly to talk about their emotions and learn different ways to cope. And today, that includes tapping into traditional medicine and art as \u003cem>Dia de los Muertos\u003c/em>, the Mexican celebration of loved ones who have died, approaches.\u003c/p>\n\u003cfigure id=\"attachment_100504\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut.jpg\">\u003cimg class=\"wp-image-100504 size-full\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut.jpg\" alt=\"Carmen Gonzalez (R) and other members of a grief group at La Clinica de la Raza in Oakland. Gonzalez’s son was accidentally killed two years ago at age 17. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carmen Gonzalez (R) and other members of a grief group at La Clinica de la Raza in Oakland. Gonzalez’s son was accidentally killed two years ago at age 17. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gonzalez and her husband first made a nicho -- a small box decorated to honor someone who has died -- in their son's memory for \u003cem>Dia de los Muertos\u003c/em> last year. They decorated it with things Jacob loved, such as green apples, Cheetos, Star Wars figurines and chicken. She says the process of making the nicho brought a lot of tears.\u003c/p>\n\u003cp>“It's hard to think that our kid is not with us anymore,” she said.\u003c/p>\n\u003cp>The nicho that Gonzalez is making for her son this year is different. She glues red sequins onto the edge of the box and says she plans on adding a dancing \u003cem>calavera\u003c/em> or skeleton. The pain of losing her son hasn’t subsided, she says, but she feels less anger.\u003c/p>\n\u003cp>“The one I’m doing now is a little bit like resignation, because I know he is connected. Energy always transforms into something different,” Gonzalez says. “And that’s what I want to believe, that he is still with me.”\u003c/p>\n\u003cp>Everyone in the group is busily working on tables with fabrics and flowers. They take turns using a glue gun to paste tiny ceramic figurines of tamales and enchiladas onto their boxes.\u003c/p>\n\u003cp>Victor Perez, 14, has just put the first layer of paint on the nicho for his parents. They died in a car accident when he was just 3 years old. He made a nicho last year with pictures of them and other items.\u003c/p>\n\u003cfigure id=\"attachment_100505\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-100505\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut.jpg\" alt=\"Yolanda Tell shows off a nicho she made for her daughter, as grandson Victor Hugo Perez looks on. Tell’s daugher died in a car accident when Perez was 3 years old. Tell takes care of him and his brother. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yolanda Tell shows off a nicho she made for her daughter, as grandson Victor Hugo Perez looks on. Tell’s daugher died in a car accident when Perez was 3 years old. Tell takes care of him and his brother. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My dad used to have his own workshop so I put cars, tools. And a hummingbird, because every time I used to see a hummingbird, that reminded me of (my mom),” says Perez.\u003c/p>\n\u003cp>Sometimes, he says, he kisses the nicho goodnight.\u003c/p>\n\u003cp>Psychologist Ricardo Carrillo leads the group, which is part of La Clinica’s \u003cem>Cultura y Bienestar\u003c/em> (Culture and Wellbeing) mental health program. He says that by making this art, people here are rerooting themselves in traditions that offer healthy approaches to life and death.\u003c/p>\n\u003cfigure id=\"attachment_100508\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17250_IMG_9896.JPG-qut.jpg\">\u003cimg class=\"size-thumbnail wp-image-100508\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17250_IMG_9896.JPG-qut-400x267.jpg\" alt=\"A nicho at the Oakland Museum of California made in one of Alicia Diaz’s workshops. \" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17250_IMG_9896.JPG-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17250_IMG_9896.JPG-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17250_IMG_9896.JPG-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17250_IMG_9896.JPG-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17250_IMG_9896.JPG-qut-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A nicho at the Oakland Museum of California made in one of Alicia Diaz’s workshops. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It strengthens our mental health in that we have a place to bring our grief, bring our loss in a celebratory way,” says Carrillo. “We accept the fact that we are going to die. The question is, what do we want to leave and what did our loved ones leave for us? And that’s what we try to celebrate in the artwork that we are doing.”\u003c/p>\n\u003cp>Carrillo is also working on a nicho for his sister, who died last year of complications from alcoholism. He paints it with bright pinks and purples.\u003c/p>\n\u003cp>“She was a really girly girl, but at the same time had the heart of a tough guy,” says Carrillo. “She was a beautiful person, but she suffered her entire life.”\u003c/p>\n\u003cp>Art therapist Alicia Diaz started the grief group nearly nine years ago. She recognized the natural fit of making nichos to help this community, and now is setting up an altar with nichos at the Oakland Museum of California.\u003c/p>\n\u003cfigure id=\"attachment_100506\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-100506\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut.jpg\" alt=\"Alicia Diaz, an art therapist, decorates an altar with nichos she helped others make at the Oakland Museum of California. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alicia Diaz, an art therapist, decorates an altar with nichos she helped others make at the Oakland Museum of California. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If people can make that connection to the person that's passed away, let that creativity just run from their heart to their hands and create without judgment, it shows,\" she says. \"People love it, and people love to look at them.”\u003c/p>\n\u003cp>Diaz didn’t grow up with the tradition -– this hybrid between popular and religious art. But she fell in love with it after learning about it when she was in graduate school. Now she has helped more than 100 people make nichos for loved ones.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I look at every nicho and think, 'That’s a person. That was somebody’s life, and somebody is grieving them and missing them and this is real!' It’s not just a painting or a creation,” she says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carmen Gonzalez combs through pictures of her youngest son, Jacob. She picks one that shows him in boxing gear, his gloved fists raised. He looks straight at the camera. In another, he’s more relaxed, with his long, wavy hair reaching down to his shoulders. His arm hangs around his mother.\u003c/p>\n\u003cp>“My son was a very charming, popular kid with girls,” says Gonzalez. “He was funny, and he always had a smiling face. No one could resist him.”\u003c/p>\n\u003cp>Two years ago, when Jacob was 17, he was accidentally killed by a friend who shot him in the back while they sat in a parking lot.\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/230868753&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/230868753'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Instead of waiting for a kid to graduate from high school or drive his own car, we have nothing. He just left. And he left us with an empty heart, because we love him so much,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gonzalez felt a deep sense of injustice over her son’s sudden death. She became depressed and angry. That’s when she decided to look for help and came to a grief group at Oakland's La Clinica de la Raza. Participants meet weekly to talk about their emotions and learn different ways to cope. And today, that includes tapping into traditional medicine and art as \u003cem>Dia de los Muertos\u003c/em>, the Mexican celebration of loved ones who have died, approaches.\u003c/p>\n\u003cfigure id=\"attachment_100504\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut.jpg\">\u003cimg class=\"wp-image-100504 size-full\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut.jpg\" alt=\"Carmen Gonzalez (R) and other members of a grief group at La Clinica de la Raza in Oakland. Gonzalez’s son was accidentally killed two years ago at age 17. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17254_IMG_9960.JPG-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carmen Gonzalez (R) and other members of a grief group at La Clinica de la Raza in Oakland. Gonzalez’s son was accidentally killed two years ago at age 17. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gonzalez and her husband first made a nicho -- a small box decorated to honor someone who has died -- in their son's memory for \u003cem>Dia de los Muertos\u003c/em> last year. They decorated it with things Jacob loved, such as green apples, Cheetos, Star Wars figurines and chicken. She says the process of making the nicho brought a lot of tears.\u003c/p>\n\u003cp>“It's hard to think that our kid is not with us anymore,” she said.\u003c/p>\n\u003cp>The nicho that Gonzalez is making for her son this year is different. She glues red sequins onto the edge of the box and says she plans on adding a dancing \u003cem>calavera\u003c/em> or skeleton. The pain of losing her son hasn’t subsided, she says, but she feels less anger.\u003c/p>\n\u003cp>“The one I’m doing now is a little bit like resignation, because I know he is connected. Energy always transforms into something different,” Gonzalez says. “And that’s what I want to believe, that he is still with me.”\u003c/p>\n\u003cp>Everyone in the group is busily working on tables with fabrics and flowers. They take turns using a glue gun to paste tiny ceramic figurines of tamales and enchiladas onto their boxes.\u003c/p>\n\u003cp>Victor Perez, 14, has just put the first layer of paint on the nicho for his parents. They died in a car accident when he was just 3 years old. He made a nicho last year with pictures of them and other items.\u003c/p>\n\u003cfigure id=\"attachment_100505\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-100505\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut.jpg\" alt=\"Yolanda Tell shows off a nicho she made for her daughter, as grandson Victor Hugo Perez looks on. Tell’s daugher died in a car accident when Perez was 3 years old. Tell takes care of him and his brother. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17253_IMG_9948.JPG-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yolanda Tell shows off a nicho she made for her daughter, as grandson Victor Hugo Perez looks on. Tell’s daugher died in a car accident when Perez was 3 years old. Tell takes care of him and his brother. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My dad used to have his own workshop so I put cars, tools. And a hummingbird, because every time I used to see a hummingbird, that reminded me of (my mom),” says Perez.\u003c/p>\n\u003cp>Sometimes, he says, he kisses the nicho goodnight.\u003c/p>\n\u003cp>Psychologist Ricardo Carrillo leads the group, which is part of La Clinica’s \u003cem>Cultura y Bienestar\u003c/em> (Culture and Wellbeing) mental health program. He says that by making this art, people here are rerooting themselves in traditions that offer healthy approaches to life and death.\u003c/p>\n\u003cfigure id=\"attachment_100508\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17250_IMG_9896.JPG-qut.jpg\">\u003cimg class=\"size-thumbnail wp-image-100508\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17250_IMG_9896.JPG-qut-400x267.jpg\" alt=\"A nicho at the Oakland Museum of California made in one of Alicia Diaz’s workshops. \" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17250_IMG_9896.JPG-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17250_IMG_9896.JPG-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17250_IMG_9896.JPG-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17250_IMG_9896.JPG-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17250_IMG_9896.JPG-qut-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A nicho at the Oakland Museum of California made in one of Alicia Diaz’s workshops. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It strengthens our mental health in that we have a place to bring our grief, bring our loss in a celebratory way,” says Carrillo. “We accept the fact that we are going to die. The question is, what do we want to leave and what did our loved ones leave for us? And that’s what we try to celebrate in the artwork that we are doing.”\u003c/p>\n\u003cp>Carrillo is also working on a nicho for his sister, who died last year of complications from alcoholism. He paints it with bright pinks and purples.\u003c/p>\n\u003cp>“She was a really girly girl, but at the same time had the heart of a tough guy,” says Carrillo. “She was a beautiful person, but she suffered her entire life.”\u003c/p>\n\u003cp>Art therapist Alicia Diaz started the grief group nearly nine years ago. She recognized the natural fit of making nichos to help this community, and now is setting up an altar with nichos at the Oakland Museum of California.\u003c/p>\n\u003cfigure id=\"attachment_100506\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-100506\" src=\"http://ww2.kqed.org/stateofhealth/wp-content/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut.jpg\" alt=\"Alicia Diaz, an art therapist, decorates an altar with nichos she helped others make at the Oakland Museum of California. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/27/2015/10/RS17252_IMG_9931.JPG-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alicia Diaz, an art therapist, decorates an altar with nichos she helped others make at the Oakland Museum of California. \u003ccite>(Farida Jhabvala Romero/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If people can make that connection to the person that's passed away, let that creativity just run from their heart to their hands and create without judgment, it shows,\" she says. \"People love it, and people love to look at them.”\u003c/p>\n\u003cp>Diaz didn’t grow up with the tradition -– this hybrid between popular and religious art. But she fell in love with it after learning about it when she was in graduate school. Now she has helped more than 100 people make nichos for loved ones.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I look at every nicho and think, 'That’s a person. That was somebody’s life, and somebody is grieving them and missing them and this is real!' It’s not just a painting or a creation,” she says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Hearing Voices: 'Voz' by Luis Muñoz",
"title": "Hearing Voices: 'Voz' by Luis Muñoz",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Looking at the credits, \u003ca href=\"http://www.luismunoz.net\">Luis Muñoz\u003c/a>’s gorgeous new album \"Voz\" seems like it’s all over the map. And it is, in the best possible way. It is a project overstuffed with an international array of artists who have each made memorable recordings of their own, but \"Voz\" never suffers from a lack of focus.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/230869176\" 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>A multi-instrumentalist who plays piano, percussion, melodica and drums, Muñoz guides the proceedings carefully as a composer and arranger. He doesn’t even play on every track, but his generous spirit suffuses the music from beginning to end.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/get-attachment.aspx_.jpeg\">\u003cimg class=\"alignleft wp-image-10739685\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/get-attachment.aspx_-400x400.jpeg\" alt=\"VOZ\" width=\"257\" height=\"257\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-400x400.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-800x800.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-1180x1180.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-960x960.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-75x75.jpeg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_.jpeg 1400w\" sizes=\"(max-width: 257px) 100vw, 257px\">\u003c/a>As the title suggests, \"Voz\" is a project focusing on the human voice, and what voices! Muñoz showcases three remarkable women from across Latin America, creating bespoke compositions and arrangements to fit the contours of their unmistakable sounds. Like so many Latin American musicians who have settled in the United States in recent decades, Santa Barbara-based Muñoz has created a highly personal style that could be called Latin jazz, though it has little to do with the Afro-Cuban/jazz synthesis forged by Dizzy Gillespie, Chano Pozo and Mario Bauza in the 1940s.\u003c/p>\n\u003cp>Instead, he’s crafted a luscious sound that’s more interested in song form and creating evocative settings for lyrics than groove. He seems particularly inspired by \u003ca href=\"http://www.magosherrera.com\">Magos Herrera\u003c/a>, a captivating jazz singer born and raised in Mexico City and now based in New York. She’s the most prominently featured of the album’s singers, and Muñoz makes the most out of her sensuously throaty voice on the opening track “\u003ca href=\"https://www.youtube.com/watch?v=zJurCZDeFD8\">Preludio y Fin\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For players, Muñoz draws on a cast of longtime collaborators, including pianist Adam Asarnow, bassist Brendan Statom and guitarist Daniel Zimmerman. Each track features different instrumentation. On “Argentina,” an elegant setting for a lyric by Nicaraguan singer/songwriter Luis Enrique Mejía, Herrera engages in a hip-swaying dance with the flugelhorn of Jonathan Dane, whose self-possessed horn work provides the album with another striking voice.\u003c/p>\n\u003cp>Born and raised in Costa Rica, where he graduated from the National Conservatory, Muñoz moved to California in the mid-1970s to study music at UC Santa Barbara. He’s been there ever since, creating music for film, dance and theater, while documenting his own compositions on a series of acclaimed albums.\u003c/p>\n\u003cp>\"Voz\" is his most personal project yet, one that often finds him reaching back to his Central American roots for inspiration. “\u003ca href=\"https://www.youtube.com/watch?v=wlI_nm6rnBw\">Quisiera\u003c/a>” is a collaboration with multi-instrumentalist \u003ca href=\"http://www.grupomalpais.com/jaime_gamboa.php\">Jaime Gamboa\u003c/a>, a founding member of the great Costa Rican band Malpais. A lament for lost love, the song features a double dose of soul with vocals by São Paulo-raised, Southern California-based \u003ca href=\"http://www.newbossa.com\">Téka Penteriche\u003c/a> and Chile’s \u003ca href=\"http://www.marsalismusic.com/claudia-acuna\">Claudia Acuña\u003c/a>, a longtime force on the New York scene.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6fDsXNGADIE\u003c/p>\n\u003cp>What’s particularly impressive about \"Voz\" is Muñoz’s restraint and exquisite taste. On paper the album looks like it was conceived by a kid in a candy store, but his spacious orchestrations and measured tempos give the music plenty of room to breathe, even on the most intricately constructed tracks.\u003c/p>\n\u003cp>He leaves you wanting to hear more from every singer, particularly Téka, who shines on the undulating samba “Pasion,” which features a lyric by Panamanian songwriter Romulo Castro (best known for his work with Ruben Blades). The 86-year-old jazz great Ron Kalina provides gleaming counterpoint on chromatic harmonica.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The album closes with the most intimate-sounding track, “Amanecer Luminoso,” or “Luminous Dawn,” a brief setting for a poem by Costa Rican literary lion Osvaldo Sauma featuring Magos Herrera, backed only by pianist Adam Asarnow. Muñoz doesn’t play on the piece, but as an artist attuned to the ephemeral nature of life and love, his voice comes through every track on \"Voz,\" a gossamer dreamscape of an album.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking at the credits, \u003ca href=\"http://www.luismunoz.net\">Luis Muñoz\u003c/a>’s gorgeous new album \"Voz\" seems like it’s all over the map. And it is, in the best possible way. It is a project overstuffed with an international array of artists who have each made memorable recordings of their own, but \"Voz\" never suffers from a lack of focus.\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/230869176&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/230869176'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A multi-instrumentalist who plays piano, percussion, melodica and drums, Muñoz guides the proceedings carefully as a composer and arranger. He doesn’t even play on every track, but his generous spirit suffuses the music from beginning to end.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/get-attachment.aspx_.jpeg\">\u003cimg class=\"alignleft wp-image-10739685\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/get-attachment.aspx_-400x400.jpeg\" alt=\"VOZ\" width=\"257\" height=\"257\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-400x400.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-800x800.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-1180x1180.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-960x960.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_-75x75.jpeg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/get-attachment.aspx_.jpeg 1400w\" sizes=\"(max-width: 257px) 100vw, 257px\">\u003c/a>As the title suggests, \"Voz\" is a project focusing on the human voice, and what voices! Muñoz showcases three remarkable women from across Latin America, creating bespoke compositions and arrangements to fit the contours of their unmistakable sounds. Like so many Latin American musicians who have settled in the United States in recent decades, Santa Barbara-based Muñoz has created a highly personal style that could be called Latin jazz, though it has little to do with the Afro-Cuban/jazz synthesis forged by Dizzy Gillespie, Chano Pozo and Mario Bauza in the 1940s.\u003c/p>\n\u003cp>Instead, he’s crafted a luscious sound that’s more interested in song form and creating evocative settings for lyrics than groove. He seems particularly inspired by \u003ca href=\"http://www.magosherrera.com\">Magos Herrera\u003c/a>, a captivating jazz singer born and raised in Mexico City and now based in New York. She’s the most prominently featured of the album’s singers, and Muñoz makes the most out of her sensuously throaty voice on the opening track “\u003ca href=\"https://www.youtube.com/watch?v=zJurCZDeFD8\">Preludio y Fin\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For players, Muñoz draws on a cast of longtime collaborators, including pianist Adam Asarnow, bassist Brendan Statom and guitarist Daniel Zimmerman. Each track features different instrumentation. On “Argentina,” an elegant setting for a lyric by Nicaraguan singer/songwriter Luis Enrique Mejía, Herrera engages in a hip-swaying dance with the flugelhorn of Jonathan Dane, whose self-possessed horn work provides the album with another striking voice.\u003c/p>\n\u003cp>Born and raised in Costa Rica, where he graduated from the National Conservatory, Muñoz moved to California in the mid-1970s to study music at UC Santa Barbara. He’s been there ever since, creating music for film, dance and theater, while documenting his own compositions on a series of acclaimed albums.\u003c/p>\n\u003cp>\"Voz\" is his most personal project yet, one that often finds him reaching back to his Central American roots for inspiration. “\u003ca href=\"https://www.youtube.com/watch?v=wlI_nm6rnBw\">Quisiera\u003c/a>” is a collaboration with multi-instrumentalist \u003ca href=\"http://www.grupomalpais.com/jaime_gamboa.php\">Jaime Gamboa\u003c/a>, a founding member of the great Costa Rican band Malpais. A lament for lost love, the song features a double dose of soul with vocals by São Paulo-raised, Southern California-based \u003ca href=\"http://www.newbossa.com\">Téka Penteriche\u003c/a> and Chile’s \u003ca href=\"http://www.marsalismusic.com/claudia-acuna\">Claudia Acuña\u003c/a>, a longtime force on the New York scene.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6fDsXNGADIE'\n title='//www.youtube.com/embed/6fDsXNGADIE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What’s particularly impressive about \"Voz\" is Muñoz’s restraint and exquisite taste. On paper the album looks like it was conceived by a kid in a candy store, but his spacious orchestrations and measured tempos give the music plenty of room to breathe, even on the most intricately constructed tracks.\u003c/p>\n\u003cp>He leaves you wanting to hear more from every singer, particularly Téka, who shines on the undulating samba “Pasion,” which features a lyric by Panamanian songwriter Romulo Castro (best known for his work with Ruben Blades). The 86-year-old jazz great Ron Kalina provides gleaming counterpoint on chromatic harmonica.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The album closes with the most intimate-sounding track, “Amanecer Luminoso,” or “Luminous Dawn,” a brief setting for a poem by Costa Rican literary lion Osvaldo Sauma featuring Magos Herrera, backed only by pianist Adam Asarnow. Muñoz doesn’t play on the piece, but as an artist attuned to the ephemeral nature of life and love, his voice comes through every track on \"Voz,\" a gossamer dreamscape of an album.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Wildfire Sparks Renewal for Reclusive Artist Ray Dutcher",
"title": "Wildfire Sparks Renewal for Reclusive Artist Ray Dutcher",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>In February, 85-year-old artist Ray Dutcher fled a wall of fire three stories high as it roared down the mountain toward his cabin near Bishop, a town in the remote eastern Sierra south of Yosemite. The self-described hermit took one thing: a painting he’d been working on since 1982. The Round Fire sparked the artist’s rediscovery and his first show in four decades.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/230869006\" 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>Stand on Ray Dutcher’s porch and you start to get the whole hermit thing. The view from his cabin in an area called Swall Meadows is a breathtaking panorama of stark mountains, deep valleys and sky. If sky can be measured in tons, this is tons of sky.\u003c/p>\n\u003cp>“I came up here just to get away from L.A. and find a better place to create,” says Dutcher. “I liked the back country. I didn’t enjoy myself down there.”\u003c/p>\n\u003cfigure id=\"attachment_10738716\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut.jpg\">\u003cimg class=\"wp-image-10738716 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut.jpg\" alt=\"Glacier Lake,\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"Glacier Lake,\" the only painting Dutcher took as the Round Fire blazed toward his cabin. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dutcher is a wiry man with bright eyes, long gray hair and a white beard. He’s a fast-talking fellow who’s sharp as a tack and in tremendous shape. He eats right, doesn’t smoke or drink, and faithfully strides miles a day in boots he found in a garbage can 13 years ago, covering the trails he’s been visiting since Herbert Hoover was president.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My first encounter with the eastern Sierras was 1933,” says Dutcher. “My folks brought me here in a Model T Ford and I wandered off.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'I was never a gallery guy because they want to sell paintings and make a living. I want to paint whenever I darn well please.'\u003c/aside>\n\u003cp>Before he made the permanent move to the Sierra region, Dutcher put in his big-city time, receiving his master’s degree in fine art from Cal State Long Beach in 1957. That same year he co-founded the Exodus Gallery in San Pedro, exhibiting work by West Coast artists Wallace Berman, Ed Kienholz and John Wesley.\u003c/p>\n\u003cp>Despite that affiliation, the art scene was not for him. “I was never a gallery guy because they want to sell paintings and make a living,” he says. “I want to paint whenever I darn well please to paint.”\u003c/p>\n\u003cp>Dutcher’s last exhibition was in Encino in 1973. It sold out. After that, he moved to the Sierra, where he’s been working on his pieces -- often the same ones -- for decades in his backroom cabin studio facing western light.\u003c/p>\n\u003cp>And that’s where these works may have stayed, were it not for the Round Fire that swept through the area in February, consuming 7,000 acres and destroying over 40 homes and structures. Dutcher was forced to evacuate at the last minute, and took with him only one thing: a painting called \"Glacier Lake\" that he’s been working on since 1982.\u003c/p>\n\u003cp>After the fire, Ray’s 52-year-old son, Mark -- an artist in Los Angeles -- was unable to get in touch with his father, whose home was spared. He checked on him by way of Facebook and a Bishop-based gallery owner named Bruce Licher, who was a stranger to Mark.\u003c/p>\n\u003cfigure id=\"attachment_10740157\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/TundraPond-800x788.jpg\" alt='\"Tundra Pond\" by photorealist painter Ray Dutcher. ' width=\"800\" height=\"788\" class=\"size-medium wp-image-10740157\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-800x788.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-400x394.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-1440x1418.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-1180x1162.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-960x945.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Tundra Pond\" by photorealist painter Ray Dutcher. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wasn’t friends with him on Facebook,” Mark explains, “but I saw that he was posting images of the fire in Swall Meadows, so I contacted him in a message on Facebook and said, ‘My dad lives up there and I can’t get ahold of him. Can you check on him?’ ”\u003c/p>\n\u003cp>Though Licher and his wife, Karen, also lived in Swall Meadows at the time, “we didn’t even know that Ray existed,” he says.\u003c/p>\n\u003cp>Yet he dutifully trekked up the hill in search of Mark’s father, found the cabin and knocked on the door.\u003c/p>\n\u003cp>“The first thing I saw on his walls were these amazing paintings,” Licher says. “I thought, wow, you know, these would be great to show in our space.”\u003c/p>\n\u003cp>Independent Project Press is the Lichers' “space.” The couple’s main business for the last 30 years has been creating unique printed material on vintage letterpress equipment, veritable works of art unto themselves. The space also houses The Project Room, a gallery that’s helped to galvanize the local art scene.\u003c/p>\n\u003cp>Despite Licher’s enthusiasm, Dutcher was not thrilled with the idea. His first reaction was, \"Oh no, I’m done with showing my work in galleries. Galleries just want you to produce lots of work and I don’t do that. I don’t work fast and I don’t want to sell these anyway. I want to pass them on to my son.”\u003c/p>\n\u003cp>Dutcher reluctantly agreed to an exhibition, after stipulating that none of the pieces would be for sale. Signed prints of the work are available, however.\u003c/p>\n\u003cp>And so it happened. The Sept. 25 opening night of \u003ca href=\"https://www.facebook.com/events/1495941167369951/\" target=\"_blank\">\"Adventures in Visual Thought,\"\u003c/a> a 40-year retrospective of Dutcher’s work, drew a significant chunk of tiny Bishop’s population.\u003c/p>\n\u003cfigure id=\"attachment_10738726\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10738726\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut.jpg\" alt=\"The adventures start here.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The adventures start here. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You can see in his paintings, your mind’s eye would walk into the depth of them, so it’s pretty unique,” offers Karen Licher. “Ray’s got his own way to do this that I haven’t really seen with any other painter.”\u003c/p>\n\u003cp>A small group stood in front of \"Tundra Pond,\" an oil on canvas image of yes, a tundra pond, but Dutcher has captured the light, the water and the moss-covered stones in such an exact manner it would seem to define photorealism. Yet this entire exhibition might not have happened were it not for the fire and Dutcher’s son.\u003c/p>\n\u003cp>“If it weren’t for Mark, they’d never been shown,” says the artist. “And the Round Fire and Bruce. They all came together and got me down here. Otherwise, the paintings, maybe through selfishness, they’d never been shown.”\u003c/p>\n\u003cp>Ray left the family when Mark was 7 and, until recently, they saw each other only sporadically. But art is where they connect.\u003c/p>\n\u003cp>“I would say that my dad is the reason that I’m an artist,” says Mark. “It gives me encouragement that he’s been painting all these years. It really inspires me to keep going.”\u003c/p>\n\u003cp>Ray’s art is what’s kept \u003cem>him\u003c/em> going. Each piece is continually evolving, and he doesn’t like to let them go. He still feels the sting of selling his work back in ’73.\u003c/p>\n\u003cp>“They just disappear,” he says. “What the hell have I got? Someone else has it. I have nothing to show for it but money. Money’s not that important to me. I’m not suffering for it.”\u003c/p>\n\u003cp>Despite his self-imposed four-decade absence from the gallery walls, Dutcher is glad to be back.\u003c/p>\n\u003cp>“I’m happy to have a show,” he says. “How long am I going to live? I’m a late bloomer, as they say, you know?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"Adventures in Visual Thought\" runs through November. Then Dutcher will pack his paintings into his old truck and drive them back up the mountain to his cabin.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In February, 85-year-old artist Ray Dutcher fled a wall of fire three stories high as it roared down the mountain toward his cabin near Bishop, a town in the remote eastern Sierra south of Yosemite. The self-described hermit took one thing: a painting he’d been working on since 1982. The Round Fire sparked the artist’s rediscovery and his first show in four decades.\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/230869006&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/230869006'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Stand on Ray Dutcher’s porch and you start to get the whole hermit thing. The view from his cabin in an area called Swall Meadows is a breathtaking panorama of stark mountains, deep valleys and sky. If sky can be measured in tons, this is tons of sky.\u003c/p>\n\u003cp>“I came up here just to get away from L.A. and find a better place to create,” says Dutcher. “I liked the back country. I didn’t enjoy myself down there.”\u003c/p>\n\u003cfigure id=\"attachment_10738716\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut.jpg\">\u003cimg class=\"wp-image-10738716 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut.jpg\" alt=\"Glacier Lake,\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17246_GLACIER-LAKE.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"Glacier Lake,\" the only painting Dutcher took as the Round Fire blazed toward his cabin. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dutcher is a wiry man with bright eyes, long gray hair and a white beard. He’s a fast-talking fellow who’s sharp as a tack and in tremendous shape. He eats right, doesn’t smoke or drink, and faithfully strides miles a day in boots he found in a garbage can 13 years ago, covering the trails he’s been visiting since Herbert Hoover was president.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My first encounter with the eastern Sierras was 1933,” says Dutcher. “My folks brought me here in a Model T Ford and I wandered off.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'I was never a gallery guy because they want to sell paintings and make a living. I want to paint whenever I darn well please.'\u003c/aside>\n\u003cp>Before he made the permanent move to the Sierra region, Dutcher put in his big-city time, receiving his master’s degree in fine art from Cal State Long Beach in 1957. That same year he co-founded the Exodus Gallery in San Pedro, exhibiting work by West Coast artists Wallace Berman, Ed Kienholz and John Wesley.\u003c/p>\n\u003cp>Despite that affiliation, the art scene was not for him. “I was never a gallery guy because they want to sell paintings and make a living,” he says. “I want to paint whenever I darn well please to paint.”\u003c/p>\n\u003cp>Dutcher’s last exhibition was in Encino in 1973. It sold out. After that, he moved to the Sierra, where he’s been working on his pieces -- often the same ones -- for decades in his backroom cabin studio facing western light.\u003c/p>\n\u003cp>And that’s where these works may have stayed, were it not for the Round Fire that swept through the area in February, consuming 7,000 acres and destroying over 40 homes and structures. Dutcher was forced to evacuate at the last minute, and took with him only one thing: a painting called \"Glacier Lake\" that he’s been working on since 1982.\u003c/p>\n\u003cp>After the fire, Ray’s 52-year-old son, Mark -- an artist in Los Angeles -- was unable to get in touch with his father, whose home was spared. He checked on him by way of Facebook and a Bishop-based gallery owner named Bruce Licher, who was a stranger to Mark.\u003c/p>\n\u003cfigure id=\"attachment_10740157\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/TundraPond-800x788.jpg\" alt='\"Tundra Pond\" by photorealist painter Ray Dutcher. ' width=\"800\" height=\"788\" class=\"size-medium wp-image-10740157\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-800x788.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-400x394.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-1440x1418.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-1180x1162.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-960x945.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/TundraPond-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Tundra Pond\" by photorealist painter Ray Dutcher. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wasn’t friends with him on Facebook,” Mark explains, “but I saw that he was posting images of the fire in Swall Meadows, so I contacted him in a message on Facebook and said, ‘My dad lives up there and I can’t get ahold of him. Can you check on him?’ ”\u003c/p>\n\u003cp>Though Licher and his wife, Karen, also lived in Swall Meadows at the time, “we didn’t even know that Ray existed,” he says.\u003c/p>\n\u003cp>Yet he dutifully trekked up the hill in search of Mark’s father, found the cabin and knocked on the door.\u003c/p>\n\u003cp>“The first thing I saw on his walls were these amazing paintings,” Licher says. “I thought, wow, you know, these would be great to show in our space.”\u003c/p>\n\u003cp>Independent Project Press is the Lichers' “space.” The couple’s main business for the last 30 years has been creating unique printed material on vintage letterpress equipment, veritable works of art unto themselves. The space also houses The Project Room, a gallery that’s helped to galvanize the local art scene.\u003c/p>\n\u003cp>Despite Licher’s enthusiasm, Dutcher was not thrilled with the idea. His first reaction was, \"Oh no, I’m done with showing my work in galleries. Galleries just want you to produce lots of work and I don’t do that. I don’t work fast and I don’t want to sell these anyway. I want to pass them on to my son.”\u003c/p>\n\u003cp>Dutcher reluctantly agreed to an exhibition, after stipulating that none of the pieces would be for sale. Signed prints of the work are available, however.\u003c/p>\n\u003cp>And so it happened. The Sept. 25 opening night of \u003ca href=\"https://www.facebook.com/events/1495941167369951/\" target=\"_blank\">\"Adventures in Visual Thought,\"\u003c/a> a 40-year retrospective of Dutcher’s work, drew a significant chunk of tiny Bishop’s population.\u003c/p>\n\u003cfigure id=\"attachment_10738726\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10738726\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut.jpg\" alt=\"The adventures start here.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17256_VISUAL-THOUGHT.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The adventures start here. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You can see in his paintings, your mind’s eye would walk into the depth of them, so it’s pretty unique,” offers Karen Licher. “Ray’s got his own way to do this that I haven’t really seen with any other painter.”\u003c/p>\n\u003cp>A small group stood in front of \"Tundra Pond,\" an oil on canvas image of yes, a tundra pond, but Dutcher has captured the light, the water and the moss-covered stones in such an exact manner it would seem to define photorealism. Yet this entire exhibition might not have happened were it not for the fire and Dutcher’s son.\u003c/p>\n\u003cp>“If it weren’t for Mark, they’d never been shown,” says the artist. “And the Round Fire and Bruce. They all came together and got me down here. Otherwise, the paintings, maybe through selfishness, they’d never been shown.”\u003c/p>\n\u003cp>Ray left the family when Mark was 7 and, until recently, they saw each other only sporadically. But art is where they connect.\u003c/p>\n\u003cp>“I would say that my dad is the reason that I’m an artist,” says Mark. “It gives me encouragement that he’s been painting all these years. It really inspires me to keep going.”\u003c/p>\n\u003cp>Ray’s art is what’s kept \u003cem>him\u003c/em> going. Each piece is continually evolving, and he doesn’t like to let them go. He still feels the sting of selling his work back in ’73.\u003c/p>\n\u003cp>“They just disappear,” he says. “What the hell have I got? Someone else has it. I have nothing to show for it but money. Money’s not that important to me. I’m not suffering for it.”\u003c/p>\n\u003cp>Despite his self-imposed four-decade absence from the gallery walls, Dutcher is glad to be back.\u003c/p>\n\u003cp>“I’m happy to have a show,” he says. “How long am I going to live? I’m a late bloomer, as they say, you know?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Adventures in Visual Thought\" runs through November. Then Dutcher will pack his paintings into his old truck and drive them back up the mountain to his cabin.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A Musician's Aerial Photography Takes Art to New Heights",
"title": "A Musician's Aerial Photography Takes Art to New Heights",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>Jassen Todorov doesn't seem possible. He's an aerial photographer, a licensed pilot, a music professor at S.F. State and an acclaimed violinist whose concerts take him around the world.\u003c/p>\n\u003cp>\"If I'm well organized -- which often times I'm not -- I can fly the plane, I can play my violin, I can teach, I can take pictures and I can take a second flight at sunset,\" said Todorov, 40, who lives in San Francisco.\u003c/p>\n\u003cp>He grew up in Bulgaria in a family of musicians and started playing the violin at age 5. When he was 17, he was given a full scholarship to the \u003ca href=\"http://www.idyllwildarts.org\" target=\"_blank\">Idyllwild Arts Academy \u003c/a>in Southern California. \u003ca href=\"http://www.jassentodorov.com/performances_past.html\" target=\"_blank\">His music\u003c/a> has been getting attention for almost two decades. Now his photographs are being noticed, too.\u003c/p>\n\u003cp>This month Todorov's picture of Koehn Lake in the Mojave Desert won a first-place \u003ca href=\"http://www.photoawards.com\" target=\"_blank\">International Photography Award \u003c/a>and he was named Nature Photographer of the Year in the contest's non-professional nature category, which drew 2,449 entries. Earlier this year, his image of Grand Prismatic Spring in Yellowstone finished second in the \u003ca href=\"http://www.worldphoto.org/about-the-sony-world-photography-awards/\" target=\"_blank\">Sony World Photography Awards.\u003c/a>\u003c/p>\n\u003cp>He shot Koehn Lake in August. His winning picture looks more like a painting than a photograph. Todorov thinks it resembles a magical forest, but it actually illustrates the effects of wind and time on a dry lake in Kern County.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I stumbled upon it around sunset. There's nobody there and it's very remote,\" said Todorov. \"When you're performing, you get a natural high. It was the same kind of feeling. I had goosebumps when I was shooting it. These abstract shots are the ones I love the most. This is nature's art.\"\u003c/p>\n\u003cp>He began flying in 2002 and is now licensed as a private, instrument-rated and commercial pilot, and a flight instructor, too. Five years ago, he bought a four-seat 1976 Piper Warrior, which he keeps at San Carlos Airport. It can go for 5½ hours at a stretch at 120 mph -- roughly from San Francisco to Twin Falls, Idaho.\u003c/p>\n\u003cfigure id=\"attachment_10739554\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut.jpg\">\u003cimg class=\"wp-image-10739554 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut-800x543.jpg\" alt=\"Grand Prismatic Spring in Yellowstone National Park is one of Jassen Todorov's favorite subjects.\" width=\"800\" height=\"543\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut-800x543.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut-1440x977.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut-1180x801.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut-960x652.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Grand Prismatic Spring in Yellowstone National Park is one of Jassen Todorov's favorite subjects. \u003ccite>(Jassen Todorov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.jassentodorov.com\" target=\"_blank\">Todorov's mix of skills and passions\u003c/a> might seem improbable, but not to him.\u003c/p>\n\u003cp>\"We have a lot of patterns and repetition in music. There's a lot of discipline,\" he said. \"There are rules, but when you break them -- that's when it gets exciting. When you apply all of that to a new art form, you can advance quite fast. Music and photography are very similar in many ways.\"\u003c/p>\n\u003cp>There are other parallels, too.\u003c/p>\n\u003cp>\"I can talk to people about what I've seen, but then I show them some pictures and they go 'wow' immediately,\" he said. \"That's the power of still photos. I can explain to you what Bach sounds like, but you hear it and it transcends you to a different reality.\"\u003c/p>\n\u003cp>Todorov's fascination with flying started a long time ago. He began collecting models of cars and airplanes when he was 5, and about 200 of them can still be found in his house in Bulgaria. His grandfather used to take him to the airport in Sofia to watch the planes come and go.\u003c/p>\n\u003cp>\"The whole idea of traveling, of exploration, of discovery, seemed so fascinating,\" he said. \"It's much more interesting to see the world from above. Flying gives you wings! Who doesn't want to have wings?\"\u003c/p>\n\u003cfigure id=\"attachment_10739555\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut.jpg\">\u003cimg class=\"size-medium wp-image-10739555\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut-800x531.jpg\" alt=\"The rivers of Iceland, seen from above, look more like abstract art than anything that actually exists in nature.\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut-1440x956.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut-1180x783.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The rivers of Iceland, seen from above, look more like abstract art than anything that actually exists in nature. \u003ccite>(Jassen Todorov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was sitting in the kitchen of the house he rents in the Ingleside, a 15-minute walk from S.F. State. In the past 12 years, Todorov has taught classes there in chamber music literature, string methods, music appreciation, fundamentals theory and career management in music. He has also given private violin lessons to undergrads and graduate students -- as well as actor Richard Gere, to help him prep for his role in \"Bee Season.\"\u003c/p>\n\u003cp>Although teaching and concerts are, as he puts it, his \"primary assignment,\" photography has become an obsession in the last three years, since he decided to seriously pursue it.\u003c/p>\n\u003cp>Todorov had just returned from a flight around the West that covered six states and 2,000 miles in four days. He'd shot about 800 pictures and had already posted some on \u003ca href=\"https://www.facebook.com/jassensf/?fref=ts\" target=\"_blank\">his Facebook page.\u003c/a> But he was still editing and happy to relive the trip through the photographs on his laptop.\u003c/p>\n\u003cp>\"You think of fields of potatoes when you think of Idaho. But they have these fields of craters. ... Here are reflections of clouds on a lake in Utah. ... I was 1,000 feet above Old Faithful here. ... Nevada is full of these red rocks. ... Look at these rivers of mud in Death Valley. Even though it's terrible, it's incredible to photograph.\"\u003c/p>\n\u003cfigure id=\"attachment_10739607\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut.jpg\">\u003cimg class=\"size-medium wp-image-10739607\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut-800x527.jpg\" alt=\"This photo of a kitesurfer in the Pacific Ocean, just south of Half Moon Bay, was taken on an extremely windy day.\" width=\"800\" height=\"527\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut-800x527.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut-400x264.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut-1440x949.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut-1180x777.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut-960x633.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This photo of a kitesurfer in the Pacific Ocean, just south of Half Moon Bay, was taken on an extremely windy day. \u003ccite>(Jassen Todorov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On average, Todorov flies twice a week. So far, he's racked up more than 2,000 hours of flying time since he got his license. He keeps a folding bike in his plane so that he can quickly get where he wants to go if he decides to land and take pictures from the ground. He used to lug along a bag full of charts, but now he relies on ForeFlight, an app on his iPad, for all his navigation needs.\u003c/p>\n\u003cp>His current camera is a Nikon D810, with a 70-200mm zoom lens. He holds it with his left hand and shoots with his right through a small open window. The camera is heavy -- about 5 pounds -- and Todorov lifts it up to demonstrate its heft. Then he brings out his Tomaso Eberle violin, which was made in Naples in 1778.\u003c/p>\n\u003cp>\"To put it in perspective, Mozart was 22 and Beethoven was only 8 when my violin was made,\" he said. \"But it's kind of like the camera. If you have a better instrument, it allows you to better express yourself. With music you want an older instrument. The more it ages, the more it starts to flourish. But with technology, in a year or two my camera won't be so relevant.\"\u003c/p>\n\u003cp>Even with the best equipment, though, clarity and sharpness can be elusive. But Todorov enjoys the challenge. He was dealing with high winds and turbulence at 11,000 feet when he shot his award-winning photo of Grand Prismatic Spring in Yellowstone.\u003c/p>\n\u003cp>\"You really want to take advantage of the morning light and the sunset light,\" he said. \"Sometimes I get lucky and sometimes I don't. If I don't, there's always tomorrow.\"\u003c/p>\n\u003cfigure id=\"attachment_10739610\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut.jpg\">\u003cimg class=\"size-medium wp-image-10739610\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut-800x524.jpg\" alt=\"People in Candaba, a town in the Philippines about two hours north of Manila, are using canoes to get to their homes after a terrible flood in fall 2015.\" width=\"800\" height=\"524\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut-800x524.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut-400x262.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut-1440x944.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut-1180x773.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People in Candaba, a town in the Philippines about two hours north of Manila, are using canoes to get to their homes after a terrible flood in fall 2015. \u003ccite>(Jassen Todorov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His pictures have been published by National Geographic, The Guardian, China News, USA Today, The Telegraph and several other media outlets, and they've been exhibited in London and Chicago. In August, National Geographic asked him to be a guest editor for its \"Your Shot From Above\" assignment -- which entailed reviewing 17,442 photographs before picking 29 winners.\u003c/p>\n\u003cp>Still, there's no doubt that music comes first, to the point that Todorov did not have time to go to New York to accept his prize for the Koehn Lake picture, presented Oct. 27 at the \u003ca href=\"http://www.lucies.org\" target=\"_blank\">Lucie Awards\u003c/a> in Carnegie Hall -- the same venue where he's performed twice as a musician.\u003c/p>\n\u003cp>On the other hand, traveling for performances gives him more opportunities to take pictures, and he often rents a plane. When he was in the Philippines in early October for a concert, he captured the struggles of people trying to reach their homes by canoe after a huge flood in the town of Candaba.\u003c/p>\n\u003cp>\"It's a very humbling experience,\" said Todorov. \"It puts the problems of myself and my friends in perspective.\"\u003c/p>\n\u003cp>He had a similar reaction shooting the oil fields surrounding Taft in Kern County. \"It's so polluted here,\" he said. \"This is what we do to ourselves. The oil rigs look like ticks sucking the blood from the earth.\"\u003c/p>\n\u003cfigure id=\"attachment_10739613\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17262_jassen-sf-qut.jpg\">\u003cimg class=\"size-medium wp-image-10739613\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17262_jassen-sf-qut-800x534.jpg\" alt=\"Jassen Todorov has taken many photographs of downtown San Francisco in all kinds of weather.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17262_jassen-sf-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17262_jassen-sf-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17262_jassen-sf-qut-1440x961.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17262_jassen-sf-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17262_jassen-sf-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17262_jassen-sf-qut-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jassen Todorov has taken many photographs of downtown San Francisco in all kinds of weather. \u003ccite>(Jassen Todorov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The more isolated a place is, the better, as far as Todorov is concerned. \"Sometimes I feel like a pioneer,\" he said. \"Many of the places I fly, there's not a single soul for hundreds of miles. When I'm in these areas, my greatest inspiration is Bach and his music.\"\u003c/p>\n\u003cp>He often listens to Bach, Mozart, Beethoven and Brahms with his iPod when he's flying, making his trips even more surreal. But it doesn't take music to do that.\u003c/p>\n\u003cp>\"When my girlfriend and I were flying to Wyoming, there was a hawk next to us at 11,000 feet,\" he said. \"You don't think of hawks as going that high. And every once in a while, there are a lot of beautiful birds. They're moving and I'm moving. One day I saw a huge flock of egrets taking off from the salts in San Francisco Bay.\"\u003c/p>\n\u003cp>But Todorov's outings are not always so ethereal. He recently landed in Kayenta, which is on the Navajo reservation in Arizona. The residents were surprised to see him pedaling through town on his folding bicycle, and a few invited him into their homes. That went well. On his way out of town, though, three large canines started chasing him.\u003c/p>\n\u003cp>\"I was imagining myself being ripped apart by these dogs,\" he said. \"They eventually gave up but it took awhile. I rode so fast. I couldn't wait to get back in the plane.\"\u003c/p>\n\u003cp>Another time, coming back from Utah, he spotted trails -- the kind made by aerobatic aircraft -- on the right side of his plane. \"And then I felt crazy turbulence,\" he said. \"People were shooting manmade rockets. They could have shot me down. I could have exploded. Talk about the Wild West.\"\u003c/p>\n\u003cp>Not scary but even stranger: In December 2013, he was returning from Mono Lake and flying over the Sierra when he shot a sunset photo with his cellphone to send to his mother and girlfriend. But he dropped the device and it fell 11,000 feet into the snow. Eight months later, someone found it on a trail. There wasn't a scratch.\u003c/p>\n\u003cp>\"These kinds of things, when they occur, you think: Is that a dream?\" Todorov said.\u003c/p>\n\u003cfigure id=\"attachment_10739615\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17264_jassen-plane-qut.jpg\">\u003cimg class=\"size-medium wp-image-10739615\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17264_jassen-plane-qut-800x533.jpg\" alt=\"Jassen Todorov stands in front of his plane, a four-seater 1976 Piper Warrior that can fly almost six hours at a stretch.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17264_jassen-plane-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17264_jassen-plane-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17264_jassen-plane-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17264_jassen-plane-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17264_jassen-plane-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17264_jassen-plane-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jassen Todorov stands in front of his plane, a four-seater 1976 Piper Warrior that can fly almost six hours at a stretch. \u003ccite>(Alex Bederov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His favorite photos are from this past summer, when he went to Iceland. \"The rivers of Iceland are probably the most beautiful thing I've seen in my entire life,\" he said. \"Volcanic ash mixed with water -- I could not stop photographing. It looks so out of this world.\"\u003c/p>\n\u003cp>But he doesn't have to go far to get other amazing shots. South of Half Moon Bay, he captured a kitesurfer in the Pacific.\u003c/p>\n\u003cp>\"I went flying on a windy day,\" he said. \"When it gets very windy, you can't take pictures because the plane is shaking. I thought, 'I must be the only crazy person out and about.' Then I saw another crazy person. I saw the shape, the kite and the shadow of the kite. And then I saw him.\"\u003c/p>\n\u003cp>It's just one example of how aerial photography has changed his view of the world.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"I see things I did not see before,\" Todorov said. \"And I get into a different dimension. When I'm playing music, it's not part of reality. It's the same with taking pictures when I'm flying.\"\u003c/p>\n\n",
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"excerpt": "S.F. State music professor and concert violinist is also a pilot whose pictures often resemble abstract paintings.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jassen Todorov doesn't seem possible. He's an aerial photographer, a licensed pilot, a music professor at S.F. State and an acclaimed violinist whose concerts take him around the world.\u003c/p>\n\u003cp>\"If I'm well organized -- which often times I'm not -- I can fly the plane, I can play my violin, I can teach, I can take pictures and I can take a second flight at sunset,\" said Todorov, 40, who lives in San Francisco.\u003c/p>\n\u003cp>He grew up in Bulgaria in a family of musicians and started playing the violin at age 5. When he was 17, he was given a full scholarship to the \u003ca href=\"http://www.idyllwildarts.org\" target=\"_blank\">Idyllwild Arts Academy \u003c/a>in Southern California. \u003ca href=\"http://www.jassentodorov.com/performances_past.html\" target=\"_blank\">His music\u003c/a> has been getting attention for almost two decades. Now his photographs are being noticed, too.\u003c/p>\n\u003cp>This month Todorov's picture of Koehn Lake in the Mojave Desert won a first-place \u003ca href=\"http://www.photoawards.com\" target=\"_blank\">International Photography Award \u003c/a>and he was named Nature Photographer of the Year in the contest's non-professional nature category, which drew 2,449 entries. Earlier this year, his image of Grand Prismatic Spring in Yellowstone finished second in the \u003ca href=\"http://www.worldphoto.org/about-the-sony-world-photography-awards/\" target=\"_blank\">Sony World Photography Awards.\u003c/a>\u003c/p>\n\u003cp>He shot Koehn Lake in August. His winning picture looks more like a painting than a photograph. Todorov thinks it resembles a magical forest, but it actually illustrates the effects of wind and time on a dry lake in Kern County.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I stumbled upon it around sunset. There's nobody there and it's very remote,\" said Todorov. \"When you're performing, you get a natural high. It was the same kind of feeling. I had goosebumps when I was shooting it. These abstract shots are the ones I love the most. This is nature's art.\"\u003c/p>\n\u003cp>He began flying in 2002 and is now licensed as a private, instrument-rated and commercial pilot, and a flight instructor, too. Five years ago, he bought a four-seat 1976 Piper Warrior, which he keeps at San Carlos Airport. It can go for 5½ hours at a stretch at 120 mph -- roughly from San Francisco to Twin Falls, Idaho.\u003c/p>\n\u003cfigure id=\"attachment_10739554\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut.jpg\">\u003cimg class=\"wp-image-10739554 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut-800x543.jpg\" alt=\"Grand Prismatic Spring in Yellowstone National Park is one of Jassen Todorov's favorite subjects.\" width=\"800\" height=\"543\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut-800x543.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut-1440x977.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut-1180x801.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17260_jassen-grand-prismatic-spring-qut-960x652.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Grand Prismatic Spring in Yellowstone National Park is one of Jassen Todorov's favorite subjects. \u003ccite>(Jassen Todorov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.jassentodorov.com\" target=\"_blank\">Todorov's mix of skills and passions\u003c/a> might seem improbable, but not to him.\u003c/p>\n\u003cp>\"We have a lot of patterns and repetition in music. There's a lot of discipline,\" he said. \"There are rules, but when you break them -- that's when it gets exciting. When you apply all of that to a new art form, you can advance quite fast. Music and photography are very similar in many ways.\"\u003c/p>\n\u003cp>There are other parallels, too.\u003c/p>\n\u003cp>\"I can talk to people about what I've seen, but then I show them some pictures and they go 'wow' immediately,\" he said. \"That's the power of still photos. I can explain to you what Bach sounds like, but you hear it and it transcends you to a different reality.\"\u003c/p>\n\u003cp>Todorov's fascination with flying started a long time ago. He began collecting models of cars and airplanes when he was 5, and about 200 of them can still be found in his house in Bulgaria. His grandfather used to take him to the airport in Sofia to watch the planes come and go.\u003c/p>\n\u003cp>\"The whole idea of traveling, of exploration, of discovery, seemed so fascinating,\" he said. \"It's much more interesting to see the world from above. Flying gives you wings! Who doesn't want to have wings?\"\u003c/p>\n\u003cfigure id=\"attachment_10739555\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut.jpg\">\u003cimg class=\"size-medium wp-image-10739555\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut-800x531.jpg\" alt=\"The rivers of Iceland, seen from above, look more like abstract art than anything that actually exists in nature.\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut-1440x956.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut-1180x783.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17258_jassen-iceland-qut-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The rivers of Iceland, seen from above, look more like abstract art than anything that actually exists in nature. \u003ccite>(Jassen Todorov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was sitting in the kitchen of the house he rents in the Ingleside, a 15-minute walk from S.F. State. In the past 12 years, Todorov has taught classes there in chamber music literature, string methods, music appreciation, fundamentals theory and career management in music. He has also given private violin lessons to undergrads and graduate students -- as well as actor Richard Gere, to help him prep for his role in \"Bee Season.\"\u003c/p>\n\u003cp>Although teaching and concerts are, as he puts it, his \"primary assignment,\" photography has become an obsession in the last three years, since he decided to seriously pursue it.\u003c/p>\n\u003cp>Todorov had just returned from a flight around the West that covered six states and 2,000 miles in four days. He'd shot about 800 pictures and had already posted some on \u003ca href=\"https://www.facebook.com/jassensf/?fref=ts\" target=\"_blank\">his Facebook page.\u003c/a> But he was still editing and happy to relive the trip through the photographs on his laptop.\u003c/p>\n\u003cp>\"You think of fields of potatoes when you think of Idaho. But they have these fields of craters. ... Here are reflections of clouds on a lake in Utah. ... I was 1,000 feet above Old Faithful here. ... Nevada is full of these red rocks. ... Look at these rivers of mud in Death Valley. Even though it's terrible, it's incredible to photograph.\"\u003c/p>\n\u003cfigure id=\"attachment_10739607\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut.jpg\">\u003cimg class=\"size-medium wp-image-10739607\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut-800x527.jpg\" alt=\"This photo of a kitesurfer in the Pacific Ocean, just south of Half Moon Bay, was taken on an extremely windy day.\" width=\"800\" height=\"527\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut-800x527.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut-400x264.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut-1440x949.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut-1180x777.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17261_jassen-kitesurfer-qut-960x633.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This photo of a kitesurfer in the Pacific Ocean, just south of Half Moon Bay, was taken on an extremely windy day. \u003ccite>(Jassen Todorov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On average, Todorov flies twice a week. So far, he's racked up more than 2,000 hours of flying time since he got his license. He keeps a folding bike in his plane so that he can quickly get where he wants to go if he decides to land and take pictures from the ground. He used to lug along a bag full of charts, but now he relies on ForeFlight, an app on his iPad, for all his navigation needs.\u003c/p>\n\u003cp>His current camera is a Nikon D810, with a 70-200mm zoom lens. He holds it with his left hand and shoots with his right through a small open window. The camera is heavy -- about 5 pounds -- and Todorov lifts it up to demonstrate its heft. Then he brings out his Tomaso Eberle violin, which was made in Naples in 1778.\u003c/p>\n\u003cp>\"To put it in perspective, Mozart was 22 and Beethoven was only 8 when my violin was made,\" he said. \"But it's kind of like the camera. If you have a better instrument, it allows you to better express yourself. With music you want an older instrument. The more it ages, the more it starts to flourish. But with technology, in a year or two my camera won't be so relevant.\"\u003c/p>\n\u003cp>Even with the best equipment, though, clarity and sharpness can be elusive. But Todorov enjoys the challenge. He was dealing with high winds and turbulence at 11,000 feet when he shot his award-winning photo of Grand Prismatic Spring in Yellowstone.\u003c/p>\n\u003cp>\"You really want to take advantage of the morning light and the sunset light,\" he said. \"Sometimes I get lucky and sometimes I don't. If I don't, there's always tomorrow.\"\u003c/p>\n\u003cfigure id=\"attachment_10739610\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut.jpg\">\u003cimg class=\"size-medium wp-image-10739610\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut-800x524.jpg\" alt=\"People in Candaba, a town in the Philippines about two hours north of Manila, are using canoes to get to their homes after a terrible flood in fall 2015.\" width=\"800\" height=\"524\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut-800x524.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut-400x262.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut-1440x944.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut-1180x773.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17263_jassen-philippines-qut-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People in Candaba, a town in the Philippines about two hours north of Manila, are using canoes to get to their homes after a terrible flood in fall 2015. \u003ccite>(Jassen Todorov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His pictures have been published by National Geographic, The Guardian, China News, USA Today, The Telegraph and several other media outlets, and they've been exhibited in London and Chicago. In August, National Geographic asked him to be a guest editor for its \"Your Shot From Above\" assignment -- which entailed reviewing 17,442 photographs before picking 29 winners.\u003c/p>\n\u003cp>Still, there's no doubt that music comes first, to the point that Todorov did not have time to go to New York to accept his prize for the Koehn Lake picture, presented Oct. 27 at the \u003ca href=\"http://www.lucies.org\" target=\"_blank\">Lucie Awards\u003c/a> in Carnegie Hall -- the same venue where he's performed twice as a musician.\u003c/p>\n\u003cp>On the other hand, traveling for performances gives him more opportunities to take pictures, and he often rents a plane. When he was in the Philippines in early October for a concert, he captured the struggles of people trying to reach their homes by canoe after a huge flood in the town of Candaba.\u003c/p>\n\u003cp>\"It's a very humbling experience,\" said Todorov. \"It puts the problems of myself and my friends in perspective.\"\u003c/p>\n\u003cp>He had a similar reaction shooting the oil fields surrounding Taft in Kern County. \"It's so polluted here,\" he said. \"This is what we do to ourselves. The oil rigs look like ticks sucking the blood from the earth.\"\u003c/p>\n\u003cfigure id=\"attachment_10739613\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17262_jassen-sf-qut.jpg\">\u003cimg class=\"size-medium wp-image-10739613\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17262_jassen-sf-qut-800x534.jpg\" alt=\"Jassen Todorov has taken many photographs of downtown San Francisco in all kinds of weather.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17262_jassen-sf-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17262_jassen-sf-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17262_jassen-sf-qut-1440x961.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17262_jassen-sf-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17262_jassen-sf-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17262_jassen-sf-qut-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jassen Todorov has taken many photographs of downtown San Francisco in all kinds of weather. \u003ccite>(Jassen Todorov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The more isolated a place is, the better, as far as Todorov is concerned. \"Sometimes I feel like a pioneer,\" he said. \"Many of the places I fly, there's not a single soul for hundreds of miles. When I'm in these areas, my greatest inspiration is Bach and his music.\"\u003c/p>\n\u003cp>He often listens to Bach, Mozart, Beethoven and Brahms with his iPod when he's flying, making his trips even more surreal. But it doesn't take music to do that.\u003c/p>\n\u003cp>\"When my girlfriend and I were flying to Wyoming, there was a hawk next to us at 11,000 feet,\" he said. \"You don't think of hawks as going that high. And every once in a while, there are a lot of beautiful birds. They're moving and I'm moving. One day I saw a huge flock of egrets taking off from the salts in San Francisco Bay.\"\u003c/p>\n\u003cp>But Todorov's outings are not always so ethereal. He recently landed in Kayenta, which is on the Navajo reservation in Arizona. The residents were surprised to see him pedaling through town on his folding bicycle, and a few invited him into their homes. That went well. On his way out of town, though, three large canines started chasing him.\u003c/p>\n\u003cp>\"I was imagining myself being ripped apart by these dogs,\" he said. \"They eventually gave up but it took awhile. I rode so fast. I couldn't wait to get back in the plane.\"\u003c/p>\n\u003cp>Another time, coming back from Utah, he spotted trails -- the kind made by aerobatic aircraft -- on the right side of his plane. \"And then I felt crazy turbulence,\" he said. \"People were shooting manmade rockets. They could have shot me down. I could have exploded. Talk about the Wild West.\"\u003c/p>\n\u003cp>Not scary but even stranger: In December 2013, he was returning from Mono Lake and flying over the Sierra when he shot a sunset photo with his cellphone to send to his mother and girlfriend. But he dropped the device and it fell 11,000 feet into the snow. Eight months later, someone found it on a trail. There wasn't a scratch.\u003c/p>\n\u003cp>\"These kinds of things, when they occur, you think: Is that a dream?\" Todorov said.\u003c/p>\n\u003cfigure id=\"attachment_10739615\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17264_jassen-plane-qut.jpg\">\u003cimg class=\"size-medium wp-image-10739615\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS17264_jassen-plane-qut-800x533.jpg\" alt=\"Jassen Todorov stands in front of his plane, a four-seater 1976 Piper Warrior that can fly almost six hours at a stretch.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17264_jassen-plane-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17264_jassen-plane-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17264_jassen-plane-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17264_jassen-plane-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17264_jassen-plane-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS17264_jassen-plane-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jassen Todorov stands in front of his plane, a four-seater 1976 Piper Warrior that can fly almost six hours at a stretch. \u003ccite>(Alex Bederov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His favorite photos are from this past summer, when he went to Iceland. \"The rivers of Iceland are probably the most beautiful thing I've seen in my entire life,\" he said. \"Volcanic ash mixed with water -- I could not stop photographing. It looks so out of this world.\"\u003c/p>\n\u003cp>But he doesn't have to go far to get other amazing shots. South of Half Moon Bay, he captured a kitesurfer in the Pacific.\u003c/p>\n\u003cp>\"I went flying on a windy day,\" he said. \"When it gets very windy, you can't take pictures because the plane is shaking. I thought, 'I must be the only crazy person out and about.' Then I saw another crazy person. I saw the shape, the kite and the shadow of the kite. And then I saw him.\"\u003c/p>\n\u003cp>It's just one example of how aerial photography has changed his view of the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I see things I did not see before,\" Todorov said. \"And I get into a different dimension. When I'm playing music, it's not part of reality. It's the same with taking pictures when I'm flying.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-death-and-rebirth-of-san-franciscos-gallery-scene",
"title": "The Death and Rebirth of San Francisco's Gallery Scene",
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"headTitle": "The Death and Rebirth of San Francisco’s Gallery Scene | KQED",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/230351516″ 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>Union Square was once the heart of San Francisco’s gallery district, but not so much anymore.\u003c/p>\n\u003cp>About 20 months ago, some of the city’s best known galleries were evicted to make room for a tech company, or gave up their leases because they couldn’t afford the soaring rents. \u003ca href=\"http://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener\">Rena Bransten\u003c/a> was among them. She ran her gallery at 77 Geary Street for nearly 30 years.\u003c/p>\n\u003cp>“In the old days,” Bransten said recently, “it was much more congenial. People wanted to come to the art galleries and schmooze and talk and go to openings, and that’s not really true anymore.”\u003c/p>\n\u003cp>When I talked to Bransten the other day, she was sitting in her storefront on Market St. near Civic Center, in a temporary space too small to mount a full show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>High rents have spun San Francisco galleries further and further from downtown, and to once unlikely neighborhoods: \u003ca href=\"http://jessicasilvermangallery.com/\" target=\"_blank\" rel=\"noopener\">Jessica Silverman\u003c/a> in the Tenderloin, \u003ca href=\"http://www.gallerywendinorris.com/index.php\" target=\"_blank\" rel=\"noopener\">Wendi Norris \u003c/a>south of Market Street, and \u003ca href=\"http://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener\">Catherine Clark\u003c/a>, \u003ca href=\"http://www.jackfischergallery.com/\" target=\"_blank\" rel=\"noopener\">Jack Fischer\u003c/a>, \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener\">Brian Gross\u003c/a> and \u003ca href=\"http://www.georgelawsongallery.com/\" target=\"_blank\" rel=\"noopener\">George Lawson \u003c/a>all in Potrero Flats near the Design District.\u003c/p>\n\u003cp>One of Bransten’s old neighbors at 77 Geary St., \u003ca href=\"http://georgekrevskygallery.com/\" target=\"_blank\" rel=\"noopener\">George Krevsky\u003c/a>, took a more radical approach, and moved his business to his home in the Oakland Hills.\u003c/p>\n\u003cp>“The idea is a work in progress,” said Krevsky.\u003c/p>\n\u003cp>“Here are two Milton Avery drawings,” he said while standing in the doorway to a guest bedroom during a tour, which continued through the living room and into his office, where its walls were covered with paintings consigned for sale by Lawrence Ferlinghetti and Jack Levine, and prints by Ben Shahn.\u003c/p>\n\u003cp>Occasionally Krevsky shows a buyer through the house, but he says most of his sales now are at art fairs or to clients whose experience of the work is an image delivered over the internet.\u003c/p>\n\u003cp>“It’s in there,” Krevsky said pointing to his computer. “And that’s cold. I miss the warmth of the artist being there, and the client coming in and seeing the reaction between the human being and the painting. But I think brick-and-mortar galleries are a thing of the past.”\u003c/p>\n\u003cp>What’s at stake for the Bay Area art scene may not be obvious, with museums thriving around the bay, and the San Francisco Museum of Modern Art reopening in the spring.\u003c/p>\n\u003cp>But Renny Pritikin, now chief curator at the Contemporary Jewish Museum, says galleries are essential to the Bay Area’s arts ecosystem, “Art fairs are elitist,” he said. “But anyone can come into a commercial gallery and meet the curator and the artist for free. I don’t know many fields where that’s the case. And it would be a loss if this went away.”\u003c/p>\n\u003cp>But maybe the old gallery model can still thrive in the right location at the right price.\u003c/p>\n\u003cp>That’s what Deborah Rappaport and Andrew, her venture capitalist husband, are hoping. They’re converting a huge warehouse, once the home of a cabinet maker, into a space for 10 galleries on Minnesota St. in San Francisco’s Dogpatch neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_11037154\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037154\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1180x885.jpg\" alt=\"Eleanor Harwood and Chris Grunder at 1275 Minnesota Street\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Eleanor Harwood and Chris Grunder at 1275 Minnesota Street \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Galleries need a physical presence,” Rappaport told me on a recent tour, “whether that’s where most of their sales come from or not. It’s the way they build careers for their artists, it’s the way they build inventory for the art fairs that they have to go to.”\u003c/p>\n\u003cp>The Rappaports are longtime arts patrons who watched with dismay as gallery after gallery lost its lease. So they came up with a business plan for this new space set to open this spring.\u003c/p>\n\u003cp>“We’re doing a for profit model, where we just want to break even,” said Rappaport.\u003c/p>\n\u003cp>Yet Rappaport says they can still offer affordable rents, a quarter to a third of what galleries are now paying around Union Square. Plus the Rappaport’s are offering free utilities, providing a room in which to show videoes, packing and shipping facilities, a café and a bar, and even showers.\u003c/p>\n\u003cp>“Nobody is happier about having showers on site than a gallerist,” Rappaport said laughing. “Because they can hang their shows until 15 minutes before the public shows up, and they don’t have to go home to change.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">The Minnesota Street Project\u003c/a>, as it’s called, has attracted younger gallery owners like Chris Grunder.\u003c/p>\n\u003cp>“If this didn’t exist,” he said recently, while sidestepping construction workers and a forklift piled high with steel beams, “we probably would not have continued as a gallery.”\u003c/p>\n\u003cp>Grunder’s gallery,\u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\"> Bass and Reiner\u003c/a>, is losing its Mission District space to — no surprise — a tech company.\u003c/p>\n\u003cp>Grunder’s and his future neighbors hope Minnesota St. will become a community, a destination for art lovers and artists to gather, drink and schmooze.\u003c/p>\n\u003cp>“I’m really looking forward to that,” said Trish Bransten, Rena Bransten’s daughter and gallery director.\u003c/p>\n\u003cp>Yup. The Branstens are moving their gallery to Rappaport’s Minnesota Street Project.\u003c/p>\n\u003cp>“The parallel to Union Square,” Trish Bransten said, “is that the people who come from out of town, will have a place to go.”\u003c/p>\n\u003cp>So score one for the city’s art galleries. But how do you save artists’ studios, which are falling in numbers due to rents increasing at a rapid pace?\u003c/p>\n\u003cp>Deborah Rappaport and her husband are also working on that, with plans to convert another 20,000-square-foot warehouse on Minnesota St. into art studios.\u003c/p>\n\u003cp>Another obliging landlord turned down higher offers to make room for North Beach Bauhaus, a five-artist studio and gallery collective in North Beach, one of the city’s highest rent neighborhoods.\u003c/p>\n\u003cp>“Our plan is to make rent the first year,” said photographer and collective member James Cha, “break even the second year, and be profitable the third year.”\u003c/p>\n\u003cfigure id=\"attachment_11037151\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037151\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1180x885.jpg\" alt=\"James Cha at North Beach Bauhaus\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Cha at North Beach Bauhaus \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cha said he and his fellow artists consider themselves very lucky. They had a gallery on Green St. but lost the lease when the landlord raised the rent.\u003c/p>\n\u003cfigure id=\"attachment_11037152\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037152\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1180x885.jpg\" alt=\"Earl Thibodeau at North Beach Bauhaus\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Earl Thibodeau at North Beach Bauhaus \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cha shares the space with Earl Thibodeau, who makes colorful hipster hats in the large basement studio they all share. Thibodeau offers this reminder of why it’s worth saving space for local artists to make and show their work.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We have all the stores that are selling mass produced stuff,” Thibodeau said. “Artists add the humanistic approach to life. You sort of inspire people. Make people dream.”\u003c/p>\n\n",
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"excerpt": "High rents have spun San Francisco galleries further and further from downtown, and to once unlikely neighborhoods.",
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"title": "The Death and Rebirth of San Francisco's Gallery Scene | KQED",
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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/230351516″&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/230351516″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Union Square was once the heart of San Francisco’s gallery district, but not so much anymore.\u003c/p>\n\u003cp>About 20 months ago, some of the city’s best known galleries were evicted to make room for a tech company, or gave up their leases because they couldn’t afford the soaring rents. \u003ca href=\"http://renabranstengallery.com/\" target=\"_blank\" rel=\"noopener\">Rena Bransten\u003c/a> was among them. She ran her gallery at 77 Geary Street for nearly 30 years.\u003c/p>\n\u003cp>“In the old days,” Bransten said recently, “it was much more congenial. People wanted to come to the art galleries and schmooze and talk and go to openings, and that’s not really true anymore.”\u003c/p>\n\u003cp>When I talked to Bransten the other day, she was sitting in her storefront on Market St. near Civic Center, in a temporary space too small to mount a full show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>High rents have spun San Francisco galleries further and further from downtown, and to once unlikely neighborhoods: \u003ca href=\"http://jessicasilvermangallery.com/\" target=\"_blank\" rel=\"noopener\">Jessica Silverman\u003c/a> in the Tenderloin, \u003ca href=\"http://www.gallerywendinorris.com/index.php\" target=\"_blank\" rel=\"noopener\">Wendi Norris \u003c/a>south of Market Street, and \u003ca href=\"http://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener\">Catherine Clark\u003c/a>, \u003ca href=\"http://www.jackfischergallery.com/\" target=\"_blank\" rel=\"noopener\">Jack Fischer\u003c/a>, \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener\">Brian Gross\u003c/a> and \u003ca href=\"http://www.georgelawsongallery.com/\" target=\"_blank\" rel=\"noopener\">George Lawson \u003c/a>all in Potrero Flats near the Design District.\u003c/p>\n\u003cp>One of Bransten’s old neighbors at 77 Geary St., \u003ca href=\"http://georgekrevskygallery.com/\" target=\"_blank\" rel=\"noopener\">George Krevsky\u003c/a>, took a more radical approach, and moved his business to his home in the Oakland Hills.\u003c/p>\n\u003cp>“The idea is a work in progress,” said Krevsky.\u003c/p>\n\u003cp>“Here are two Milton Avery drawings,” he said while standing in the doorway to a guest bedroom during a tour, which continued through the living room and into his office, where its walls were covered with paintings consigned for sale by Lawrence Ferlinghetti and Jack Levine, and prints by Ben Shahn.\u003c/p>\n\u003cp>Occasionally Krevsky shows a buyer through the house, but he says most of his sales now are at art fairs or to clients whose experience of the work is an image delivered over the internet.\u003c/p>\n\u003cp>“It’s in there,” Krevsky said pointing to his computer. “And that’s cold. I miss the warmth of the artist being there, and the client coming in and seeing the reaction between the human being and the painting. But I think brick-and-mortar galleries are a thing of the past.”\u003c/p>\n\u003cp>What’s at stake for the Bay Area art scene may not be obvious, with museums thriving around the bay, and the San Francisco Museum of Modern Art reopening in the spring.\u003c/p>\n\u003cp>But Renny Pritikin, now chief curator at the Contemporary Jewish Museum, says galleries are essential to the Bay Area’s arts ecosystem, “Art fairs are elitist,” he said. “But anyone can come into a commercial gallery and meet the curator and the artist for free. I don’t know many fields where that’s the case. And it would be a loss if this went away.”\u003c/p>\n\u003cp>But maybe the old gallery model can still thrive in the right location at the right price.\u003c/p>\n\u003cp>That’s what Deborah Rappaport and Andrew, her venture capitalist husband, are hoping. They’re converting a huge warehouse, once the home of a cabinet maker, into a space for 10 galleries on Minnesota St. in San Francisco’s Dogpatch neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_11037154\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037154\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1180x885.jpg\" alt=\"Eleanor Harwood and Chris Grunder at 1275 Minnesota Street\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Eleanor-Harwood-and-Chris-Grunder-at-1275-Minnesota-Street-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Eleanor Harwood and Chris Grunder at 1275 Minnesota Street \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Galleries need a physical presence,” Rappaport told me on a recent tour, “whether that’s where most of their sales come from or not. It’s the way they build careers for their artists, it’s the way they build inventory for the art fairs that they have to go to.”\u003c/p>\n\u003cp>The Rappaports are longtime arts patrons who watched with dismay as gallery after gallery lost its lease. So they came up with a business plan for this new space set to open this spring.\u003c/p>\n\u003cp>“We’re doing a for profit model, where we just want to break even,” said Rappaport.\u003c/p>\n\u003cp>Yet Rappaport says they can still offer affordable rents, a quarter to a third of what galleries are now paying around Union Square. Plus the Rappaport’s are offering free utilities, providing a room in which to show videoes, packing and shipping facilities, a café and a bar, and even showers.\u003c/p>\n\u003cp>“Nobody is happier about having showers on site than a gallerist,” Rappaport said laughing. “Because they can hang their shows until 15 minutes before the public shows up, and they don’t have to go home to change.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">The Minnesota Street Project\u003c/a>, as it’s called, has attracted younger gallery owners like Chris Grunder.\u003c/p>\n\u003cp>“If this didn’t exist,” he said recently, while sidestepping construction workers and a forklift piled high with steel beams, “we probably would not have continued as a gallery.”\u003c/p>\n\u003cp>Grunder’s gallery,\u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\"> Bass and Reiner\u003c/a>, is losing its Mission District space to — no surprise — a tech company.\u003c/p>\n\u003cp>Grunder’s and his future neighbors hope Minnesota St. will become a community, a destination for art lovers and artists to gather, drink and schmooze.\u003c/p>\n\u003cp>“I’m really looking forward to that,” said Trish Bransten, Rena Bransten’s daughter and gallery director.\u003c/p>\n\u003cp>Yup. The Branstens are moving their gallery to Rappaport’s Minnesota Street Project.\u003c/p>\n\u003cp>“The parallel to Union Square,” Trish Bransten said, “is that the people who come from out of town, will have a place to go.”\u003c/p>\n\u003cp>So score one for the city’s art galleries. But how do you save artists’ studios, which are falling in numbers due to rents increasing at a rapid pace?\u003c/p>\n\u003cp>Deborah Rappaport and her husband are also working on that, with plans to convert another 20,000-square-foot warehouse on Minnesota St. into art studios.\u003c/p>\n\u003cp>Another obliging landlord turned down higher offers to make room for North Beach Bauhaus, a five-artist studio and gallery collective in North Beach, one of the city’s highest rent neighborhoods.\u003c/p>\n\u003cp>“Our plan is to make rent the first year,” said photographer and collective member James Cha, “break even the second year, and be profitable the third year.”\u003c/p>\n\u003cfigure id=\"attachment_11037151\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037151\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1180x885.jpg\" alt=\"James Cha at North Beach Bauhaus\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/James-Cha-at-North-Beach-Bauhaus-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Cha at North Beach Bauhaus \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cha said he and his fellow artists consider themselves very lucky. They had a gallery on Green St. but lost the lease when the landlord raised the rent.\u003c/p>\n\u003cfigure id=\"attachment_11037152\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11037152\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1180x885.jpg\" alt=\"Earl Thibodeau at North Beach Bauhaus\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Earl-Thibodeau-at-North-Beach-Bauhaus-960x720.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Earl Thibodeau at North Beach Bauhaus \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cha shares the space with Earl Thibodeau, who makes colorful hipster hats in the large basement studio they all share. Thibodeau offers this reminder of why it’s worth saving space for local artists to make and show their work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In November, researchers at UC Berkeley will begin a three-year project to restore and translate thousands of century-old audio recordings of Native California Indians. The collection was created by cultural anthropologists in the first half of the 20th century and is now considered the largest audio repository of California Indian culture in the world.\u003c/p>\n\u003cp>Nearly a third of the 2,713 recordings come from Ishi, the storied last member of the Yahi tribe who lived the last years of his life inside the University of California’s Phoebe A. Hearst Museum of Anthropology. Ishi died in 1916 from tuberculosis. He was 54 years old.\u003c/p>\n\u003cp>Five years before his death, Ishi -- desperate, alone and starving -- walked out of the forest and into the little Gold Rush town of Oroville (Butte County). He was the last surviving member of the Yahi tribe, which had been killed off by European settlers. Upon arriving in Oroville, local journalists had a field day, dubbing Ishi the “last wild Indian.”\u003c/p>\n\u003cp>The news quickly reached Alfred Kroeber, a cultural anthropologist in San Francisco who specialized in the study of native Californians. With permission from the Office of Indian Affairs, Ishi was transported to Kroeber at the University of California’s Phoebe A. Hearst Museum of Anthropology, where he worked as a caretaker. On Sundays, people would flock to the museum to watch Ishi carve arrow points and demonstrate how he lived in the wild.\u003c/p>\n\u003cp>In September, 1911, Kroeber began using a portable hand-cranked phonograph to record Ishi’s narrations of traditional Yahi songs and stories.\u003c/p>\n\u003cfigure id=\"attachment_10730605\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10730605\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/KroeberAndIshi-800x764.jpg\" alt=\"Ishi with cultural anthropologist Alfred Kroeber in 1911.\" width=\"800\" height=\"764\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/KroeberAndIshi.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/KroeberAndIshi-400x382.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/KroeberAndIshi-32x32.jpg 32w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ishi with cultural anthropologist Alfred Kroeber in 1911. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“About the first or second day, Ishi told the story of ‘wood duck,’ this myth that’s not recorded anywhere else in native California,” says Ira Jacknis, the head of research at the museum today and the lead on the UC Berkeley sound restoration project.\u003c/p>\n\u003cp>“He told the story for hours and hours. And of course he was speaking Yahi for the first time because he had been living alone. So this idea of being isolated and having people encourage him to speak his language was clearly a revelation for him.\"\u003c/p>\n\u003cp>While these recordings appear to offer a treasure trove of material for linguists and historians, they are nearly inaudible now due to mold that has grown on the wax cylinders over the decades.\u003c/p>\n\u003cp>Ten years ago, physicist Carl Haber from the Lawrence Berkeley National Laboratory created a state-of-the-art machine that can digitally restore damaged recordings. With the help of Haber’s machine, which he calls \u003ca href=\"http://irene.lbl.gov/\">I.R.E.N.E.\u003c/a>, academics will soon be able to learn more about Native Californians and the stories they told.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Hear the difference between the original and restored recordings\u003c/h3>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/playlists/158247233\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"350\" iframe=\"true\" /]\u003c/p>\n\u003c/aside>\n\u003cp>“It’s essentially a big microscope that takes a very, very high-resolution picture of the physical item upon which the sound is recorded,” says Haber about I.R.E.N.E., an acronym for Image Reconstruct Erase Noise Etcetera. “When I say we take a picture, we’re actually making a big topographical map of all three dimensions of the surface of the entire cylinder.” Haber then uses software to analyze and ultimately minimize the noise caused by mold.\u003c/p>\n\u003cp>Starting next month, Haber’s team will load the entire collection of Native California Indian recordings onto I.R.E.N.E., which will analyze and restore the recordings over the next three years. When the restoration project is complete, the recordings will be sent to tribal descendants, who will determine which parts of the collection can be released to the public.\u003c/p>\n\u003cp>Kayla Ray Carpenter is a member of the Hoopa tribe in Humboldt County. She's a Ph.D. candidate at Berkeley, and she says the recordings can help keep old traditions alive.\u003c/p>\n\u003cp>\"We have a song ownership system in our culture in which songs are passed down through families,\" Carpenter explains, \"and it might be interesting to connect these people up with songs of their grandparents, their old people.\"\u003c/p>\n\u003cp>The remastered recordings will also allow anthropologists like Ira Jacknis to continue to build on the work Kroeber started over a hundred years ago.\u003c/p>\n\u003cp>“I do see myself as following in the footsteps of Alfred Kroeber to preserve Indian culture,” says Jacknis. “But I’m just a link in the chain, and people who will come after me will actually be able to manipulate the sound recordings in new ways. That was the idea that these anthropologists at the turn of the century had, and we’re just one part of that.”\u003c/p>\n\u003cp>\u003cem>Special thanks to the \u003ca href=\"http://hearstmuseum.berkeley.edu/\">Phoebe A. Hearst Museum of Anthropology\u003c/a> for use of the original audio recordings of Ishi.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In November, researchers at UC Berkeley will begin a three-year project to restore and translate thousands of century-old audio recordings of Native California Indians. The collection was created by cultural anthropologists in the first half of the 20th century and is now considered the largest audio repository of California Indian culture in the world.\u003c/p>\n\u003cp>Nearly a third of the 2,713 recordings come from Ishi, the storied last member of the Yahi tribe who lived the last years of his life inside the University of California’s Phoebe A. Hearst Museum of Anthropology. Ishi died in 1916 from tuberculosis. He was 54 years old.\u003c/p>\n\u003cp>Five years before his death, Ishi -- desperate, alone and starving -- walked out of the forest and into the little Gold Rush town of Oroville (Butte County). He was the last surviving member of the Yahi tribe, which had been killed off by European settlers. Upon arriving in Oroville, local journalists had a field day, dubbing Ishi the “last wild Indian.”\u003c/p>\n\u003cp>The news quickly reached Alfred Kroeber, a cultural anthropologist in San Francisco who specialized in the study of native Californians. With permission from the Office of Indian Affairs, Ishi was transported to Kroeber at the University of California’s Phoebe A. Hearst Museum of Anthropology, where he worked as a caretaker. On Sundays, people would flock to the museum to watch Ishi carve arrow points and demonstrate how he lived in the wild.\u003c/p>\n\u003cp>In September, 1911, Kroeber began using a portable hand-cranked phonograph to record Ishi’s narrations of traditional Yahi songs and stories.\u003c/p>\n\u003cfigure id=\"attachment_10730605\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10730605\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/KroeberAndIshi-800x764.jpg\" alt=\"Ishi with cultural anthropologist Alfred Kroeber in 1911.\" width=\"800\" height=\"764\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/KroeberAndIshi.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/KroeberAndIshi-400x382.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/KroeberAndIshi-32x32.jpg 32w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ishi with cultural anthropologist Alfred Kroeber in 1911. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“About the first or second day, Ishi told the story of ‘wood duck,’ this myth that’s not recorded anywhere else in native California,” says Ira Jacknis, the head of research at the museum today and the lead on the UC Berkeley sound restoration project.\u003c/p>\n\u003cp>“He told the story for hours and hours. And of course he was speaking Yahi for the first time because he had been living alone. So this idea of being isolated and having people encourage him to speak his language was clearly a revelation for him.\"\u003c/p>\n\u003cp>While these recordings appear to offer a treasure trove of material for linguists and historians, they are nearly inaudible now due to mold that has grown on the wax cylinders over the decades.\u003c/p>\n\u003cp>Ten years ago, physicist Carl Haber from the Lawrence Berkeley National Laboratory created a state-of-the-art machine that can digitally restore damaged recordings. With the help of Haber’s machine, which he calls \u003ca href=\"http://irene.lbl.gov/\">I.R.E.N.E.\u003c/a>, academics will soon be able to learn more about Native Californians and the stories they told.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Hear the difference between the original and restored recordings\u003c/h3>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='350'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/playlists/158247233&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/playlists/158247233'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003c/aside>\n\u003cp>“It’s essentially a big microscope that takes a very, very high-resolution picture of the physical item upon which the sound is recorded,” says Haber about I.R.E.N.E., an acronym for Image Reconstruct Erase Noise Etcetera. “When I say we take a picture, we’re actually making a big topographical map of all three dimensions of the surface of the entire cylinder.” Haber then uses software to analyze and ultimately minimize the noise caused by mold.\u003c/p>\n\u003cp>Starting next month, Haber’s team will load the entire collection of Native California Indian recordings onto I.R.E.N.E., which will analyze and restore the recordings over the next three years. When the restoration project is complete, the recordings will be sent to tribal descendants, who will determine which parts of the collection can be released to the public.\u003c/p>\n\u003cp>Kayla Ray Carpenter is a member of the Hoopa tribe in Humboldt County. She's a Ph.D. candidate at Berkeley, and she says the recordings can help keep old traditions alive.\u003c/p>\n\u003cp>\"We have a song ownership system in our culture in which songs are passed down through families,\" Carpenter explains, \"and it might be interesting to connect these people up with songs of their grandparents, their old people.\"\u003c/p>\n\u003cp>The remastered recordings will also allow anthropologists like Ira Jacknis to continue to build on the work Kroeber started over a hundred years ago.\u003c/p>\n\u003cp>“I do see myself as following in the footsteps of Alfred Kroeber to preserve Indian culture,” says Jacknis. “But I’m just a link in the chain, and people who will come after me will actually be able to manipulate the sound recordings in new ways. That was the idea that these anthropologists at the turn of the century had, and we’re just one part of that.”\u003c/p>\n\u003cp>\u003cem>Special thanks to the \u003ca href=\"http://hearstmuseum.berkeley.edu/\">Phoebe A. Hearst Museum of Anthropology\u003c/a> for use of the original audio recordings of Ishi.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"520\" frameborder=\"0\" src=\"https://kqedarts.cartodb.com/viz/2f206b60-76a0-11e5-b346-0e3ff518bd15/embed_map\" allowfullscreen webkitallowfullscreen mozallowfullscreen oallowfullscreen msallowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With the rising cost of living in the Bay Area, arts organizations across the region have been forced to leave their premises in search of more cost-effective space. KQED has been closely following the impact of escalating rents and forced evictions on the local creative community and the effects of the displacement of artistic activity on the area as a whole.\u003c/p>\n\u003cp>Over the past couple of years, we have produced dozens of stories for the web and for broadcast, looking at both the flight of arts organizations from their homes, and how forward-thinking institutions and individuals are exploring creative ways of helping artists to continue to work in the Bay Area.\u003c/p>\n\u003cp>We have gathered our coverage from early 2014 until now into a user-friendly interactive map (see above) as a way to help our audience better understand the important issues at hand.\u003c/p>\n\u003cp>The red dots on map show locations we’ve written stories about focusing on the disappearing arts. These include artists being pushed out of gallery spaces such as the closing of \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\" target=\"_blank\" rel=\"noopener\">Studio 17\u003c/a> in which approximately 70 artists who rented studios in the Redlick building could not secure new leases.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In contrast, the green dots show new and emerging spaces for artists such as Social Hall SF and the Tenderloin Museum. The link on each point in the map will take you to the original KQED story where you can learn more.\u003c/p>\n\u003cp>\u003cstrong>We need your help!\u003c/strong>\u003c/p>\n\u003cp>This map is a work in progress and we plan to continue to update it as we develop new stories at KQED. We’d love your help in expanding this map’s reach. If you know of an arts organization we have missed, please tell us about it in the form below or tweet your suggestion to \u003ca href=\"https://twitter.com/kqedarts\" target=\"_blank\" rel=\"noopener\">@KQEDArts\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://docs.google.com/forms/d/1SpCppUdQyIDzrnjLh9mRZGuWXqsDlQtazSrrGod6zVM/viewform?embedded=true\" width=\"620\" height=\"500\" frameborder=\"0\" marginheight=\"0\" marginwidth=\"0\">Loading…\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" width=\"100%\" height=\"520\" frameborder=\"0\" src=\"https://kqedarts.cartodb.com/viz/2f206b60-76a0-11e5-b346-0e3ff518bd15/embed_map\" allowfullscreen webkitallowfullscreen mozallowfullscreen oallowfullscreen msallowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With the rising cost of living in the Bay Area, arts organizations across the region have been forced to leave their premises in search of more cost-effective space. KQED has been closely following the impact of escalating rents and forced evictions on the local creative community and the effects of the displacement of artistic activity on the area as a whole.\u003c/p>\n\u003cp>Over the past couple of years, we have produced dozens of stories for the web and for broadcast, looking at both the flight of arts organizations from their homes, and how forward-thinking institutions and individuals are exploring creative ways of helping artists to continue to work in the Bay Area.\u003c/p>\n\u003cp>We have gathered our coverage from early 2014 until now into a user-friendly interactive map (see above) as a way to help our audience better understand the important issues at hand.\u003c/p>\n\u003cp>The red dots on map show locations we’ve written stories about focusing on the disappearing arts. These include artists being pushed out of gallery spaces such as the closing of \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\" target=\"_blank\" rel=\"noopener\">Studio 17\u003c/a> in which approximately 70 artists who rented studios in the Redlick building could not secure new leases.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In contrast, the green dots show new and emerging spaces for artists such as Social Hall SF and the Tenderloin Museum. The link on each point in the map will take you to the original KQED story where you can learn more.\u003c/p>\n\u003cp>\u003cstrong>We need your help!\u003c/strong>\u003c/p>\n\u003cp>This map is a work in progress and we plan to continue to update it as we develop new stories at KQED. We’d love your help in expanding this map’s reach. If you know of an arts organization we have missed, please tell us about it in the form below or tweet your suggestion to \u003ca href=\"https://twitter.com/kqedarts\" target=\"_blank\" rel=\"noopener\">@KQEDArts\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://docs.google.com/forms/d/1SpCppUdQyIDzrnjLh9mRZGuWXqsDlQtazSrrGod6zVM/viewform?embedded=true\" width=\"620\" height=\"500\" frameborder=\"0\" marginheight=\"0\" marginwidth=\"0\">Loading…\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Small Town, Big Legend: Willow Creek Celebrates Bigfoot",
"title": "Small Town, Big Legend: Willow Creek Celebrates Bigfoot",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>A wild, hairy, primate-like creature living in the forests of Northern California has long been part of the lore of a small mining community known as Willow Creek. Everything changed in 1967, when the creature was supposedly captured on film. Yes, we're talking about Bigfoot.\u003c/p>\n\u003cp>The \u003ca href=\"https://youtu.be/OBTUQI60yqQ?t=175\" target=\"_blank\">iconic Bigfoot video\u003c/a> shot just 29 miles north of Willow Creek made national news. Nearly 50 years later, people are still flocking to the Humboldt County town, which celebrates the creature every year during its Bigfoot Days Festival. We stopped by this year's event, held on Sept. 5.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/228750700\" 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>There are plenty of believers within the festival. For Anita Bussle, a member of the Hupa tribe, Bigfoot is more than just a mascot for Willow Creek. She says the creature is a spiritual being that should be protected.\u003c/p>\n\u003cp>\"Most of the people I know don't wanna tell you where they saw it or how they saw it,\" she said. \"They wanna keep him as safe as he can be. It's like telling you I saw an eagle that flies over there, and then having someone that comes in and shoots the bird.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>However, Willow Creek does have a lot of Bigfoot memorabilia and quite a few businesses named after the forest primate. Driving through town, it’s hard to miss the Bigfoot statues and signs lining the streets.\u003c/p>\n\u003cfigure id=\"attachment_10726268\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/BigfootBooks-800x490.jpg\" alt=\"Steve Streufert outside Bigfoot Books in Willow Creek.\" width=\"800\" height=\"490\" class=\"size-medium wp-image-10726268\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootBooks-800x490.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootBooks-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootBooks-1440x882.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootBooks.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootBooks-1180x723.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootBooks-960x588.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Streufert outside Bigfoot Books in Willow Creek. \u003ccite>(Redwood Coast/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Steve Streufert, owner of Bigfoot Books and local expert in all things Bigfoot, would argue that the creature has become more than a mascot. To him, Bigfoot brings the community together, and its impact has been growing since 1967.\u003c/p>\n\u003cp>\"This is sort of the mecca of Bigfoot,\" Streufert said. \"I get tourists from Europe and all across the country. Bigfoot was how this town became bigger than just a tiny little hole in the wall along the intersection there.\"\u003c/p>\n\u003cp>It's also notable that major networks and hundreds of scientific studies have kept the legend alive by finding new evidence. \u003ca href=\"http://www.animalplanet.com/tv-shows/finding-bigfoot/\" target=\"_blank\">Animal Planet\u003c/a>, \u003ca href=\"http://video.nationalgeographic.com/video/bigfoot-hoax-sci?source=relatedvideo\" target=\"_blank\">National Geographic\u003c/a> and the \u003ca href=\"http://www.history.com/shows/monsterquest/videos/the-legend-of-bigfoot\" target=\"_blank\">History Channel\u003c/a> continue to produce Bigfoot documentaries showcasing new facts and new evidence, as well as analyzing and deconstructing the 1967 film by Roger Patterson and Robert Gimlin to prove that Bigfoot could be real.\u003c/p>\n\u003cp>\"Everyone enjoys Bigfoot just for the fun of it,” said Streufert. \"Because even if you do believe, it's not like it's easy to go find the thing.\"\u003c/p>\n\u003cp>With almost 10,000 miles of wildlife spanning the entire Humboldt-Toiyabe National Forest surrounding Willow Creek, finding Bigfoot is not a walk in the park.\u003c/p>\n\u003cp>Enter Jaime Wayne, a researcher with the Bluff Creek Project. Among the many vendors at the Bigfoot Days Festival, his table was the only one with giant cement foot casts made from Bigfoot prints. He held up one of the prints and explained that some are not always accurate.\u003c/p>\n\u003cfigure id=\"attachment_10726273\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/BigfootMuseumExterior-800x531.jpg\" alt=\"Outside a Bigfoot museum in Willow Creek.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-10726273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootMuseumExterior-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootMuseumExterior-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootMuseumExterior-1440x956.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootMuseumExterior.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootMuseumExterior-1180x783.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootMuseumExterior-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside a Bigfoot museum in Willow Creek. \u003ccite>(Trisha Fawver/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"We’ve amassed a collection of reported Bigfoot prints,\" he said. \"Some of them are quite interesting, but other prints are attributable to normal animals.\"\u003c/p>\n\u003cp>In addition to finding various Bigfoot tracks, the Bluff Creek Project leads outdoor adventure trips, including regular visits to the place where Bigfoot was supposedly filmed. Wayne said sometimes the Bigfoot hype gets the best of the campers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"You get 'em outside in a tent, and they’re absolutely terrified,\" he said. \"They don’t get any sleep at all, and every single sound is a Bigfoot when you’re hearing it from the inside of your tent.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A wild, hairy, primate-like creature living in the forests of Northern California has long been part of the lore of a small mining community known as Willow Creek. Everything changed in 1967, when the creature was supposedly captured on film. Yes, we're talking about Bigfoot.\u003c/p>\n\u003cp>The \u003ca href=\"https://youtu.be/OBTUQI60yqQ?t=175\" target=\"_blank\">iconic Bigfoot video\u003c/a> shot just 29 miles north of Willow Creek made national news. Nearly 50 years later, people are still flocking to the Humboldt County town, which celebrates the creature every year during its Bigfoot Days Festival. We stopped by this year's event, held on Sept. 5.\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/228750700&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/228750700'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There are plenty of believers within the festival. For Anita Bussle, a member of the Hupa tribe, Bigfoot is more than just a mascot for Willow Creek. She says the creature is a spiritual being that should be protected.\u003c/p>\n\u003cp>\"Most of the people I know don't wanna tell you where they saw it or how they saw it,\" she said. \"They wanna keep him as safe as he can be. It's like telling you I saw an eagle that flies over there, and then having someone that comes in and shoots the bird.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>However, Willow Creek does have a lot of Bigfoot memorabilia and quite a few businesses named after the forest primate. Driving through town, it’s hard to miss the Bigfoot statues and signs lining the streets.\u003c/p>\n\u003cfigure id=\"attachment_10726268\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/BigfootBooks-800x490.jpg\" alt=\"Steve Streufert outside Bigfoot Books in Willow Creek.\" width=\"800\" height=\"490\" class=\"size-medium wp-image-10726268\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootBooks-800x490.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootBooks-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootBooks-1440x882.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootBooks.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootBooks-1180x723.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootBooks-960x588.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Streufert outside Bigfoot Books in Willow Creek. \u003ccite>(Redwood Coast/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Steve Streufert, owner of Bigfoot Books and local expert in all things Bigfoot, would argue that the creature has become more than a mascot. To him, Bigfoot brings the community together, and its impact has been growing since 1967.\u003c/p>\n\u003cp>\"This is sort of the mecca of Bigfoot,\" Streufert said. \"I get tourists from Europe and all across the country. Bigfoot was how this town became bigger than just a tiny little hole in the wall along the intersection there.\"\u003c/p>\n\u003cp>It's also notable that major networks and hundreds of scientific studies have kept the legend alive by finding new evidence. \u003ca href=\"http://www.animalplanet.com/tv-shows/finding-bigfoot/\" target=\"_blank\">Animal Planet\u003c/a>, \u003ca href=\"http://video.nationalgeographic.com/video/bigfoot-hoax-sci?source=relatedvideo\" target=\"_blank\">National Geographic\u003c/a> and the \u003ca href=\"http://www.history.com/shows/monsterquest/videos/the-legend-of-bigfoot\" target=\"_blank\">History Channel\u003c/a> continue to produce Bigfoot documentaries showcasing new facts and new evidence, as well as analyzing and deconstructing the 1967 film by Roger Patterson and Robert Gimlin to prove that Bigfoot could be real.\u003c/p>\n\u003cp>\"Everyone enjoys Bigfoot just for the fun of it,” said Streufert. \"Because even if you do believe, it's not like it's easy to go find the thing.\"\u003c/p>\n\u003cp>With almost 10,000 miles of wildlife spanning the entire Humboldt-Toiyabe National Forest surrounding Willow Creek, finding Bigfoot is not a walk in the park.\u003c/p>\n\u003cp>Enter Jaime Wayne, a researcher with the Bluff Creek Project. Among the many vendors at the Bigfoot Days Festival, his table was the only one with giant cement foot casts made from Bigfoot prints. He held up one of the prints and explained that some are not always accurate.\u003c/p>\n\u003cfigure id=\"attachment_10726273\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/BigfootMuseumExterior-800x531.jpg\" alt=\"Outside a Bigfoot museum in Willow Creek.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-10726273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootMuseumExterior-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootMuseumExterior-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootMuseumExterior-1440x956.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootMuseumExterior.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootMuseumExterior-1180x783.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/BigfootMuseumExterior-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside a Bigfoot museum in Willow Creek. \u003ccite>(Trisha Fawver/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"We’ve amassed a collection of reported Bigfoot prints,\" he said. \"Some of them are quite interesting, but other prints are attributable to normal animals.\"\u003c/p>\n\u003cp>In addition to finding various Bigfoot tracks, the Bluff Creek Project leads outdoor adventure trips, including regular visits to the place where Bigfoot was supposedly filmed. Wayne said sometimes the Bigfoot hype gets the best of the campers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"You get 'em outside in a tent, and they’re absolutely terrified,\" he said. \"They don’t get any sleep at all, and every single sound is a Bigfoot when you’re hearing it from the inside of your tent.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Museum President Under Fire for Unauthorized Payment",
"headTitle": "San Francisco Museum President Under Fire for Unauthorized Payment | KQED",
"content": "\u003cp>The city’s most powerful museum official and prominent arts patron is under new scrutiny after a report released over the weekend accused her of financial impropriety.\u003c/p>\n\u003cp>The chief financial officer at the \u003ca href=\"http://www.famsf.org/?gclid=CPub4LLjz8gCFRRgfgodbF8ClA\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco \u003c/a>has \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/S-F-Fine-Arts-Museums-chief-Dede-Wilsey-accused-6575346.php\" target=\"_blank\" rel=\"noopener\">reportedly \u003c/a>accused its president, Dede Wilsey, of making an unauthorized payment to a former employee.\u003c/p>\n\u003cp>San Francisco Chronicle columnists \u003ca href=\"http://www.sfchronicle.com/author/matier-ross/\" target=\"_blank\" rel=\"noopener\">Matier and Ross \u003c/a>reported Sunday that the museum’s CFO, Michele Gutierrez filed a complaint with the city and \u003ca href=\"https://oag.ca.gov/\" target=\"_blank\" rel=\"noopener\">state Attorney General Kamala Harris\u003c/a>, over a $450,000 payment from the museum to Bill Huggins, a former engineer at the museum.\u003c/p>\n\u003cp>Huggins’ wife is director of registration at the \u003ca href=\"http://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener\">de Young Museum,\u003c/a> a city institution along with the Palace of the Legion of Honor.\u003c/p>\n\u003cp>A spokeswoman for the museum said she’s not authorized to speak about the report, and “Mrs. Wilsey is not available for comment.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She also issued a statement saying that the payment was a “pay-equity, disability severance payment made to a 32-year city employee of the Museum.” Huggins reportedly retired in 2014 after suffering a heart attack.\u003c/p>\n\u003cp>The Chronicle story says that Wilsey didn’t seek the board’s approval for the payment.\u003c/p>\n\u003cp>But the museum’s statement reads “payment was approved unanimously by the audit committee and the full board of COFAM, [the Corporation of the Fine Arts Museums of San Francisco], and the payment was separately and unanimously approved by the audit committee of the Museum’s Foundation.”\u003c/p>\n\u003cp>The museum is governed by three sets of trustees, with an \u003ca href=\"https://www.famsf.org/files/annual_report_2012-2013.pdf\" target=\"_blank\" rel=\"noopener\">annual budget \u003c/a>in 2013/2014 of about $55 million, with almost $14 million of that coming from the city.\u003c/p>\n\u003cp>Wilsey is both the board president and the museums’ chief executive officer. She donated $10 million of her own money, and raised much of the $190 million it took to build the new de Young facility in Golden Gate Park, now celebrating its 10th anniversary. But she’s also been dogged by accusations that she’s high-handed in running the museum, and she’s been blamed for some high-profile firings of well-respected staff.\u003c/p>\n\u003cp>The museum’s statement says it hired an outside independent investigator to look into the complaint. “The investigator conducted a thorough investigation and issued her findings approximately one week before the article was published in the Chronicle. Those findings found no wrongdoing by the Museums, its employees, or its Trustees.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A spokeswoman for the state attorney general said she can’t comment on any potential or ongoing investigations, “or even confirm or deny them, to protect the integrity of our investigations.”\u003c/p>\n\n",
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"excerpt": "The city's most powerful museum official and prominent arts patron is under new scrutiny after a report released over the weekend accused her of financial impropriety.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The city’s most powerful museum official and prominent arts patron is under new scrutiny after a report released over the weekend accused her of financial impropriety.\u003c/p>\n\u003cp>The chief financial officer at the \u003ca href=\"http://www.famsf.org/?gclid=CPub4LLjz8gCFRRgfgodbF8ClA\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco \u003c/a>has \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/S-F-Fine-Arts-Museums-chief-Dede-Wilsey-accused-6575346.php\" target=\"_blank\" rel=\"noopener\">reportedly \u003c/a>accused its president, Dede Wilsey, of making an unauthorized payment to a former employee.\u003c/p>\n\u003cp>San Francisco Chronicle columnists \u003ca href=\"http://www.sfchronicle.com/author/matier-ross/\" target=\"_blank\" rel=\"noopener\">Matier and Ross \u003c/a>reported Sunday that the museum’s CFO, Michele Gutierrez filed a complaint with the city and \u003ca href=\"https://oag.ca.gov/\" target=\"_blank\" rel=\"noopener\">state Attorney General Kamala Harris\u003c/a>, over a $450,000 payment from the museum to Bill Huggins, a former engineer at the museum.\u003c/p>\n\u003cp>Huggins’ wife is director of registration at the \u003ca href=\"http://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener\">de Young Museum,\u003c/a> a city institution along with the Palace of the Legion of Honor.\u003c/p>\n\u003cp>A spokeswoman for the museum said she’s not authorized to speak about the report, and “Mrs. Wilsey is not available for comment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She also issued a statement saying that the payment was a “pay-equity, disability severance payment made to a 32-year city employee of the Museum.” Huggins reportedly retired in 2014 after suffering a heart attack.\u003c/p>\n\u003cp>The Chronicle story says that Wilsey didn’t seek the board’s approval for the payment.\u003c/p>\n\u003cp>But the museum’s statement reads “payment was approved unanimously by the audit committee and the full board of COFAM, [the Corporation of the Fine Arts Museums of San Francisco], and the payment was separately and unanimously approved by the audit committee of the Museum’s Foundation.”\u003c/p>\n\u003cp>The museum is governed by three sets of trustees, with an \u003ca href=\"https://www.famsf.org/files/annual_report_2012-2013.pdf\" target=\"_blank\" rel=\"noopener\">annual budget \u003c/a>in 2013/2014 of about $55 million, with almost $14 million of that coming from the city.\u003c/p>\n\u003cp>Wilsey is both the board president and the museums’ chief executive officer. She donated $10 million of her own money, and raised much of the $190 million it took to build the new de Young facility in Golden Gate Park, now celebrating its 10th anniversary. But she’s also been dogged by accusations that she’s high-handed in running the museum, and she’s been blamed for some high-profile firings of well-respected staff.\u003c/p>\n\u003cp>The museum’s statement says it hired an outside independent investigator to look into the complaint. “The investigator conducted a thorough investigation and issued her findings approximately one week before the article was published in the Chronicle. Those findings found no wrongdoing by the Museums, its employees, or its Trustees.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A spokeswoman for the state attorney general said she can’t comment on any potential or ongoing investigations, “or even confirm or deny them, to protect the integrity of our investigations.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "El Teatro Campesino at 50: Founder Luis Valdez Speaks to New Generation",
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"content": "\u003cp>As a child, Luis Valdez started asking \"who am I?\" long before most kids learn to add numbers.\u003c/p>\n\u003cp>The acclaimed playwright says he has vivid childhood memories of when his parents took over a ranch in the San Joaquin Valley farm town of Delano. But then they went back to being migrant farmworkers near San Jose, and that's when Valdez says he started asking questions.\u003c/p>\n\u003cp>\"I learned that the farm hadn't been ours, but belonged to a Japanese-American farmer who had been sent to an internment camp during World War II,\" says Valdez. \"The U.S. Army took over the farm, brought in mules because of the gas shortage, and brought in my dad to farm it. Then the war ended, and my dad was on his own with the farm, and he couldn't hold onto it. He had to move out.\"\u003c/p>\n\u003cp>This memory of the contrast between the relatively prosperous time of having a ranch to the ugly discovery that the Japanese-American owner had everything taken away inspired him to write his latest play, \"\u003ca href=\"http://www.valleyoftheheart.com/\" target=\"_blank\">Valley of the Heart.\u003c/a>\" It's a love story set in Cupertino in 1941 about the relationship between a Mexican-American ranch hand and the daughter of a Japanese-American rancher.\u003c/p>\n\u003cp>Valdez says \"Valley of the Heart\" not only tackles history and race issues of that era but is also relevant to a new generation because, at its core, it is about today's blended multicultural landscape.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O8QqiJesJwY\u003c/p>\n\u003cp>Valdez was in San Jose on Monday holding auditions for \"Valley of the Heart\" at the \u003ca href=\"http://www.thestage.org\" target=\"_blank\">San Jose Stage Company,\u003c/a> where it will open Feb. 10 and run through March 6. Then it goes to Los Angeles. Valdez hopes there will be a movie version.\u003c/p>\n\u003cp>He was also in the Bay Area to help celebrate the 50th anniversary of his theater company, \u003ca href=\"http://elteatrocampesino.com\" target=\"_blank\">El Teatro Campesino,\u003c/a> in San Juan Bautista. \"Valley of the Heart\" has been playing there since last year.\u003c/p>\n\u003cp>El Teatro Campesino (the farmworkers' theater) was founded on the picket lines during the \u003ca href=\"http://www.ufw.org/_board.php?mode=view&b_code=cc_his_research&b_no=10482\">Delano Grape Strike\u003c/a> in 1965, when workers walked off farms demanding wages equal to the federal minimum wage.\u003c/p>\n\u003cp>Valdez launched his theater company on flatbed trucks with short plays performed by novice actors for audiences of Central Valley farmworkers. He had graduated from San Jose State University with a degree in English before heading to the Central Valley to connect with iconic labor leader Cesar Chavez and get involved in the strike.\u003c/p>\n\u003cp>\"I just wanted to figure out how I could fit in,\" says Valdez.\u003c/p>\n\u003cfigure id=\"attachment_10724596\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/Campesino2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10724596\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/Campesino2-400x300.jpg\" alt='Luis Valdez (center) performs with his \"Farmworkers Theatre\" on a flatbed truck in the Central Valley in 1967.' width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/Campesino2-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Campesino2-800x599.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Campesino2.jpg 948w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Luis Valdez (center) performs with his \"Farmworkers Theatre\" on a flatbed truck in the Central Valley in 1967. \u003ccite>(George Ballis/El Teatro Campesino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At age 75, Valdez says he is comfortable in his roles as playwright, director, writer, actor and the person some call the hero of Latino theater. The work has come a long way from the fields of the Central Valley.\u003c/p>\n\u003cp>\"In terms of a lifetime, 50 years is a considerable chunk,\" says Valdez. \"I have the freedom in San Juan Bautista with my theater company to do more. I can do what I do by watering the root of where I still belong.\"\u003c/p>\n\u003cp>Aldo Billingslea, a professor of theater and associate provost for diversity and inclusion at Santa Clara University, has studied Valdez and his body of work at El Teatro Campesino.\u003c/p>\n\u003cp>\"Much of his work is biting satire. His plays and movies hold up a mirror to society and speak truth to power,\" says Billingslea. \"The common theme in all Valdez's work is about empowering the individual. If you keep trying to push someone down, eventually they are going to rise up.\"\u003c/p>\n\u003cp>Billingslea says that for decades Valdez has been an unprecedented bridge into the Latino and multicultural worlds, but his work is much more than that .\u003c/p>\n\u003cp>\"He's a genius. Listen to the number of people who talk about him as a Latino writer or relegate him to being only about the Latino culture,\" says Billingslea. \"He's writing about America, and that's an aspect of America we need to know about.\"\u003c/p>\n\u003cp>Valdez's hit play, \"Zoot Suit,\" about the 1940s Sleepy Lagoon murder case in Los Angeles, gave him the title of the first Chicano playwright on Broadway. He also directed the highest-grossing Latino movie of the time, \"La Bamba,\" about the life of singer Ritchie Valens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tuesday night at a \u003ca href=\"https://www.eventbrite.com/e/50-year-retrospective-luis-valdez-y-el-teatro-campesino-tickets-18055903694\" target=\"_blank\">KQED-hosted event at the San Jose Stage Company, \u003c/a>Valdez will talk about the 50th anniversary of El Teatro Campesino and the successes and challenges of interpreting the lives of Latino Americans.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a child, Luis Valdez started asking \"who am I?\" long before most kids learn to add numbers.\u003c/p>\n\u003cp>The acclaimed playwright says he has vivid childhood memories of when his parents took over a ranch in the San Joaquin Valley farm town of Delano. But then they went back to being migrant farmworkers near San Jose, and that's when Valdez says he started asking questions.\u003c/p>\n\u003cp>\"I learned that the farm hadn't been ours, but belonged to a Japanese-American farmer who had been sent to an internment camp during World War II,\" says Valdez. \"The U.S. Army took over the farm, brought in mules because of the gas shortage, and brought in my dad to farm it. Then the war ended, and my dad was on his own with the farm, and he couldn't hold onto it. He had to move out.\"\u003c/p>\n\u003cp>This memory of the contrast between the relatively prosperous time of having a ranch to the ugly discovery that the Japanese-American owner had everything taken away inspired him to write his latest play, \"\u003ca href=\"http://www.valleyoftheheart.com/\" target=\"_blank\">Valley of the Heart.\u003c/a>\" It's a love story set in Cupertino in 1941 about the relationship between a Mexican-American ranch hand and the daughter of a Japanese-American rancher.\u003c/p>\n\u003cp>Valdez says \"Valley of the Heart\" not only tackles history and race issues of that era but is also relevant to a new generation because, at its core, it is about today's blended multicultural landscape.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O8QqiJesJwY'\n title='//www.youtube.com/embed/O8QqiJesJwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Valdez was in San Jose on Monday holding auditions for \"Valley of the Heart\" at the \u003ca href=\"http://www.thestage.org\" target=\"_blank\">San Jose Stage Company,\u003c/a> where it will open Feb. 10 and run through March 6. Then it goes to Los Angeles. Valdez hopes there will be a movie version.\u003c/p>\n\u003cp>He was also in the Bay Area to help celebrate the 50th anniversary of his theater company, \u003ca href=\"http://elteatrocampesino.com\" target=\"_blank\">El Teatro Campesino,\u003c/a> in San Juan Bautista. \"Valley of the Heart\" has been playing there since last year.\u003c/p>\n\u003cp>El Teatro Campesino (the farmworkers' theater) was founded on the picket lines during the \u003ca href=\"http://www.ufw.org/_board.php?mode=view&b_code=cc_his_research&b_no=10482\">Delano Grape Strike\u003c/a> in 1965, when workers walked off farms demanding wages equal to the federal minimum wage.\u003c/p>\n\u003cp>Valdez launched his theater company on flatbed trucks with short plays performed by novice actors for audiences of Central Valley farmworkers. He had graduated from San Jose State University with a degree in English before heading to the Central Valley to connect with iconic labor leader Cesar Chavez and get involved in the strike.\u003c/p>\n\u003cp>\"I just wanted to figure out how I could fit in,\" says Valdez.\u003c/p>\n\u003cfigure id=\"attachment_10724596\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/Campesino2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10724596\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/Campesino2-400x300.jpg\" alt='Luis Valdez (center) performs with his \"Farmworkers Theatre\" on a flatbed truck in the Central Valley in 1967.' width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/Campesino2-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Campesino2-800x599.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Campesino2.jpg 948w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Luis Valdez (center) performs with his \"Farmworkers Theatre\" on a flatbed truck in the Central Valley in 1967. \u003ccite>(George Ballis/El Teatro Campesino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At age 75, Valdez says he is comfortable in his roles as playwright, director, writer, actor and the person some call the hero of Latino theater. The work has come a long way from the fields of the Central Valley.\u003c/p>\n\u003cp>\"In terms of a lifetime, 50 years is a considerable chunk,\" says Valdez. \"I have the freedom in San Juan Bautista with my theater company to do more. I can do what I do by watering the root of where I still belong.\"\u003c/p>\n\u003cp>Aldo Billingslea, a professor of theater and associate provost for diversity and inclusion at Santa Clara University, has studied Valdez and his body of work at El Teatro Campesino.\u003c/p>\n\u003cp>\"Much of his work is biting satire. His plays and movies hold up a mirror to society and speak truth to power,\" says Billingslea. \"The common theme in all Valdez's work is about empowering the individual. If you keep trying to push someone down, eventually they are going to rise up.\"\u003c/p>\n\u003cp>Billingslea says that for decades Valdez has been an unprecedented bridge into the Latino and multicultural worlds, but his work is much more than that .\u003c/p>\n\u003cp>\"He's a genius. Listen to the number of people who talk about him as a Latino writer or relegate him to being only about the Latino culture,\" says Billingslea. \"He's writing about America, and that's an aspect of America we need to know about.\"\u003c/p>\n\u003cp>Valdez's hit play, \"Zoot Suit,\" about the 1940s Sleepy Lagoon murder case in Los Angeles, gave him the title of the first Chicano playwright on Broadway. He also directed the highest-grossing Latino movie of the time, \"La Bamba,\" about the life of singer Ritchie Valens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tuesday night at a \u003ca href=\"https://www.eventbrite.com/e/50-year-retrospective-luis-valdez-y-el-teatro-campesino-tickets-18055903694\" target=\"_blank\">KQED-hosted event at the San Jose Stage Company, \u003c/a>Valdez will talk about the 50th anniversary of El Teatro Campesino and the successes and challenges of interpreting the lives of Latino Americans.\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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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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},
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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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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"source": "NPR"
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"how-i-built-this": {
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"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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"hyphenacion": {
"id": "hyphenacion",
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"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. ",
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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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"order": 18
},
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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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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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