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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The much-anticipated \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>, Deborah and Andy Rappaport’s ambitious Dogpatch neighborhood arts complex, announced its starting line-up of commercial galleries and project spaces Wednesday.\u003c/p>\n\u003cp>The roster includes a number of galleries displaced from their original spaces by rising rents and landlord evictions, like \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner Gallery\u003c/a> (former tenant of \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\">Studio 17\u003c/a>) and \u003ca href=\"http://www.renabranstengallery.com\" target=\"_blank\" rel=\"noopener\">Rena Bransten Gallery\u003c/a> (former tenant of \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\">77 Geary\u003c/a>). Other starter tenants include \u003ca href=\"http://www.casemorekirkeby.com/\" target=\"_blank\" rel=\"noopener\">Casemore Kirkeby\u003c/a>, \u003ca href=\"http://www.eleanorharwood.com/Eleanor_Harwood_Gallery/Home.html\" target=\"_blank\" rel=\"noopener\">Eleanor Harwood Gallery\u003c/a>, \u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener\">Et al. etc.\u003c/a>, \u003ca href=\"http://www.jackfischergallery.com/\" target=\"_blank\" rel=\"noopener\">Jack Fischer Gallery\u003c/a>, Nancy Toomey Fine Art and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener\">Themes + Projects\u003c/a>. \u003c/p>\n\u003cp>And the list isn’t entirely about the white-cube scene. \u003ca href=\"http://www.sfartsed.org/\" target=\"_blank\" rel=\"noopener\">The San Francisco Arts Education Project\u003c/a>, a nonprofit that posts working artists in San Francisco schools to teach theater, dance and visual arts to children, is another “charter member.”\u003c/p>\n\u003cfigure id=\"attachment_11092406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/MSP640.jpg\" alt=\"Rendering of 1275 Minnesota St.\" width=\"640\" height=\"439\" class=\"size-full wp-image-11092406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MSP640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/MSP640-400x274.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rendering of 1275 Minnesota St. \u003ccite>(Photo: Jensen Architects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many galleries will relocate to Minnesota Street entirely, Et al. will expand — opening “a new gallery concept” at the complex while retaining their subterranean Chinatown space. Never ones to keep things simple, Et al. etc. will host two concurrent exhibitions at all times: one organized by Et al.’s directors Facundo Argañaraz, Jackie Im and Aaron Harbour, the other by a gallery from outside the Bay Area.\u003c/p>\n\u003cp>By its opening next spring, the complex will also host 30 private studios ranging from 250 to 800 square feet, “as well as 4,000 square feet of communal workspace and resources, including a wood shop, digital media lab, traditional printing presses, kiln, and other specialized tools and services,” the website proclaims. Minnesota Street Project is \u003ca href=\"http://minnesotastreetproject.com/studios\" target=\"_blank\" rel=\"noopener\">currently accepting applications\u003c/a> from those with a serious studio practice (this translates to an expected 25 hours per week of studio time, a luxury for many working artists). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project’s website also outlines “a comprehensive, concierge-based art-collection management service” for everyone from individuals to institutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, programming continues at Minnesota Street Project’s off-site pop-up gallery at 2291 Third St., with \u003ca href=\"http://minnesotastreetproject.com/exhibitions/2291-3rd-st/real-time-space-group-exhibition\" target=\"_blank\" rel=\"noopener\">an opening this Saturday\u003c/a> of artwork made in another, scrappier type of art complex, Oakland’s studio and residency program \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener\">Real Time & Space\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Members of the Eagles of Death Metal band say they’re home safe after the Paris attacks and “are horrified and still trying to come to terms with what happened in France.”\u003c/p>\n\u003cp>The U.S. band was performing at the Bataclan when the deadly attacks occurred. Last Friday’s night of terror in Paris killed 129 people and wounded over 350 others.\u003c/p>\n\u003cp>“Our thoughts and hearts are first and foremost with our brother Nick Alexander, our record company comrades Thomas Ayad, Marie Mosser, and Manu Perez, and all the friends and fans whose lives were taken in Paris, as well as their friends, families, and loved ones,” the band said in a \u003ca href=\"https://www.facebook.com/eaglesofdeathmetal\" target=\"_blank\" rel=\"noopener\">statement released Wednesday\u003c/a>.\u003c/p>\n\u003cp>Eagles of Death Metal released a new album, \u003cem>Zipper Down\u003c/em>, last month. They were on a European tour. The band said all shows are on hold until further notice.\u003c/p>\n\u003cp>“Although bonded in grief with the victims, the fans, the families, the citizens of Paris, and all those affected by terrorism, we are proud to stand together, with our new family, now united by a common goal of love and compassion,” the band said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eagles of Death Metal was formed in 1998 in Palm Desert, California. Josh Homme, one of the founders of the band and leader of the band Queens of the Stone Age, wasn’t performing with Eagles of Death Metal in Paris.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band closed its statement by thanking “the French police, the FBI, the U.S. and French State Departments, and especially all those at ground zero with us who helped each other as best they could during this unimaginable ordeal, proving once again that love overshadows evil.”\u003c/p>\n\n",
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"description": "Members of the Eagles of Death Metal band say they're home safe after the Paris attacks and "are horrified and still trying to come to terms with what happened in France." The U.S. band was performing at the Bataclan when the deadly attacks occurred. Last Friday's night of terror in Paris killed 129 people and wounded over 350 others. "Our thoughts and hearts are first and foremost with our brother Nick Alexander, our record company comrades Thomas Ayad, Marie Mosser, and Manu Perez, and all the friends and fans whose lives were taken in Paris, as well as their friends,",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Members of the Eagles of Death Metal band say they’re home safe after the Paris attacks and “are horrified and still trying to come to terms with what happened in France.”\u003c/p>\n\u003cp>The U.S. band was performing at the Bataclan when the deadly attacks occurred. Last Friday’s night of terror in Paris killed 129 people and wounded over 350 others.\u003c/p>\n\u003cp>“Our thoughts and hearts are first and foremost with our brother Nick Alexander, our record company comrades Thomas Ayad, Marie Mosser, and Manu Perez, and all the friends and fans whose lives were taken in Paris, as well as their friends, families, and loved ones,” the band said in a \u003ca href=\"https://www.facebook.com/eaglesofdeathmetal\" target=\"_blank\" rel=\"noopener\">statement released Wednesday\u003c/a>.\u003c/p>\n\u003cp>Eagles of Death Metal released a new album, \u003cem>Zipper Down\u003c/em>, last month. They were on a European tour. The band said all shows are on hold until further notice.\u003c/p>\n\u003cp>“Although bonded in grief with the victims, the fans, the families, the citizens of Paris, and all those affected by terrorism, we are proud to stand together, with our new family, now united by a common goal of love and compassion,” the band said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eagles of Death Metal was formed in 1998 in Palm Desert, California. Josh Homme, one of the founders of the band and leader of the band Queens of the Stone Age, wasn’t performing with Eagles of Death Metal in Paris.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band closed its statement by thanking “the French police, the FBI, the U.S. and French State Departments, and especially all those at ground zero with us who helped each other as best they could during this unimaginable ordeal, proving once again that love overshadows evil.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Between the World and Me\u003c/em>, Ta-Nehisi Coates’ brief, unflinching meditation on race and police violence, won the National Book Award for nonfiction on Wednesday night. The fiction prize was given to Adam Johnson’s \u003cem>Fortune Smiles\u003c/em>, an eclectic and edgy story collection set everywhere from the former East Germany to a Louisiana community reeling from Hurricane Katrina.\u003c/p>\n\u003cp>Coates’ book has been on best-seller lists for months, and his acceptance speech was a stirring expression of gratitude and frustration. He dedicated his honor to his friend Prince Jones, who was killed by police 15 years ago and whose tragedy is at the core of “Between the World and Me.”\u003c/p>\n\u003cp>“\u003cem>Between the World and Me\u003c/em> comes out of that place,” said Coates, adding that similar shootings keep happening “over and over and over again.”\u003c/p>\n\u003cp>The young people’s literature prize went to Neal Shusterman’s \u003cem>Challenger Deep\u003c/em>, inspired by his then-teenage son’s struggles with mental illness, while Robin Coste Lewis’ debut collection, \u003cem>Voyage of the Sable Venus\u003c/em>, was the cited for poetry.\u003c/p>\n\u003cp>All winners received $10,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Earlier during the ceremony at Cipriani Wall Street, Don DeLillo received a lifetime achievement medal for his contributions to American letters. James Patterson was honored for his advocacy of reading and literacy.\u003c/p>\n\u003cp>Johnson’s award follows the Pulitzer Prize he received for his previous work, “The Orphan Master’s Son.” Both were edited by David Ebershoff, a longtime Random House executive who is leaving for a full-time writing career. Moviegoers may know him for the upcoming adaptation of his novel “The Danish Girl.”\u003c/p>\n\u003cp>Fiction judges had highlighted five works with contemporary settings, touching upon everything from race and class in Angela Flournoy’s Detroit-based \u003cem>The Turner House\u003c/em> to the chronicle of marriage in Lauren Groff’s \u003cem>Fates and Furies\u003c/em> to the economy in Karen E. Bender’s story collection “Refund.” Flournoy, in an email sent earlier in the week, observed that fiction “grants us access to lives and experiences that are different from our own, but it also shows the ways in which human experience has commonalities.”\u003c/p>\n\u003cp>“Fiction makes it clear that while the particulars of our lives vary, we’re all dealing with the same sorts of emotions, the same desires to be loved and seen and heard,” she wrote.\u003c/p>\n\u003cp>Some of the night’s speakers are known for their takes on current events, but their tone was more personal and the jokes mostly about publishing.\u003c/p>\n\u003cp>Host Andy Borowitz, who routinely turns out political satires for \u003cem>The New Yorker\u003c/em>, had nothing to say about the presidential campaigns but instead mocked the presumed obscurity of the awards’ sponsor, the National Book Foundation, and the presumed self-absorption of the literary community.\u003c/p>\n\u003cp>“If you’re not in the mood to hear people talking about themselves, you’re in the wrong place,” he said.\u003c/p>\n\u003cp>DeLillo’s speech came just days after the attacks in Paris, the kind of horror he had imagined in “Mao II” and so much of his work. But the 78-year-old author was at the awards event to talk about books and old friends, mourning such peers as E.L. Doctorow and James Salter, ruminating about the shelves down the hall from where he writes and listing not just the books but their publishers and list prices. (50 cents for Dostoevsky’s “House of the Dead,” a paperback from 1959.)\u003c/p>\n\u003cp>“I find myself gazing like a museum-goer,” he said of his shelves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier during the ceremony at Cipriani Wall Street, Don DeLillo received a lifetime achievement medal for his contributions to American letters. James Patterson was honored for his advocacy of reading and literacy.\u003c/p>\n\u003cp>Johnson’s award follows the Pulitzer Prize he received for his previous work, “The Orphan Master’s Son.” Both were edited by David Ebershoff, a longtime Random House executive who is leaving for a full-time writing career. Moviegoers may know him for the upcoming adaptation of his novel “The Danish Girl.”\u003c/p>\n\u003cp>Fiction judges had highlighted five works with contemporary settings, touching upon everything from race and class in Angela Flournoy’s Detroit-based \u003cem>The Turner House\u003c/em> to the chronicle of marriage in Lauren Groff’s \u003cem>Fates and Furies\u003c/em> to the economy in Karen E. Bender’s story collection “Refund.” Flournoy, in an email sent earlier in the week, observed that fiction “grants us access to lives and experiences that are different from our own, but it also shows the ways in which human experience has commonalities.”\u003c/p>\n\u003cp>“Fiction makes it clear that while the particulars of our lives vary, we’re all dealing with the same sorts of emotions, the same desires to be loved and seen and heard,” she wrote.\u003c/p>\n\u003cp>Some of the night’s speakers are known for their takes on current events, but their tone was more personal and the jokes mostly about publishing.\u003c/p>\n\u003cp>Host Andy Borowitz, who routinely turns out political satires for \u003cem>The New Yorker\u003c/em>, had nothing to say about the presidential campaigns but instead mocked the presumed obscurity of the awards’ sponsor, the National Book Foundation, and the presumed self-absorption of the literary community.\u003c/p>\n\u003cp>“If you’re not in the mood to hear people talking about themselves, you’re in the wrong place,” he said.\u003c/p>\n\u003cp>DeLillo’s speech came just days after the attacks in Paris, the kind of horror he had imagined in “Mao II” and so much of his work. But the 78-year-old author was at the awards event to talk about books and old friends, mourning such peers as E.L. Doctorow and James Salter, ruminating about the shelves down the hall from where he writes and listing not just the books but their publishers and list prices. (50 cents for Dostoevsky’s “House of the Dead,” a paperback from 1959.)\u003c/p>\n\u003cp>“I find myself gazing like a museum-goer,” he said of his shelves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>P.F. Sloan, the songwriter behind such classic 1960s tunes as Johnny Rivers’ “Secret Agent Man” and Barry McGuire’s “Eve of Destruction,” has died. He was 70.\u003c/p>\n\u003cp>Howard Wuelfing, a spokesman for Sloan, says the singer-songwriter died Sunday at his home in Los Angeles after battling pancreatic cancer for several weeks.\u003c/p>\n\u003cp>Sloan signed his first record deal when he was 13 and went on to write songs for such artists as the Turtles, Grass Roots and Fifth Dimension. He also released several of his own albums and published the memoir \u003cem>What’s Exactly The Matter With Me?\u003c/em> last year.\u003c/p>\n\u003cp>Other songs written by Sloan included Herman’s Hermits’ “A Must to Avoid,” Terry Black’s “Unless You Care” and Jan Dean’s “I Found a Girl.”\u003c/p>\n\u003cp>\u003cem>Copyright 2015 The Associated Press. All rights reserved.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>P.F. Sloan, the songwriter behind such classic 1960s tunes as Johnny Rivers’ “Secret Agent Man” and Barry McGuire’s “Eve of Destruction,” has died. He was 70.\u003c/p>\n\u003cp>Howard Wuelfing, a spokesman for Sloan, says the singer-songwriter died Sunday at his home in Los Angeles after battling pancreatic cancer for several weeks.\u003c/p>\n\u003cp>Sloan signed his first record deal when he was 13 and went on to write songs for such artists as the Turtles, Grass Roots and Fifth Dimension. He also released several of his own albums and published the memoir \u003cem>What’s Exactly The Matter With Me?\u003c/em> last year.\u003c/p>\n\u003cp>Other songs written by Sloan included Herman’s Hermits’ “A Must to Avoid,” Terry Black’s “Unless You Care” and Jan Dean’s “I Found a Girl.”\u003c/p>\n\u003cp>\u003cem>Copyright 2015 The Associated Press. All rights reserved.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is building a new intimate performance space, which it hopes to open in late February, and the organization recently took a group of journalists on a hard-hat tour of the project in process.\u003c/p>\n\u003cp>The new space is being built in the \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">Veteran’s Building\u003c/a> next door to the Opera House, as part of its plans to consolidate offices and its costume studio. At the invitation of the War Memorial Board of Trustees, which operates the Veteran’s Building, SF Opera is taking the whole fourth floor and parts of the basement once occupied by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_11089224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg\" alt=\"The entrance to the unfinished Taube Atrium Theater\" width=\"640\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-960x541.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to the unfinished Taube Atrium Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 299-seat “Dianne and Tad Taube Atrium Theater” will be the centerpiece of the Diane B. Wilsey Center for Opera. The theater is scheduled to open Feb. 28 with the first concert of the Schwabacher Debut Recital Series, followed by the San Francisco premiere of a multi-media version of Schubert’s Winterreise (Winter Journey), which is being produced by \u003ca href=\"http://www.nytimes.com/2014/11/13/arts/music/matthias-goerne-sings-kentridges-version-of-winterreise.html?_r=0\" target=\"_blank\" rel=\"noopener\">South African artist William Kentridge\u003c/a> and sung by German baritone Matthias Goerne. That will be followed by a series of chamber recitals and \u003ca href=\"http://www.anasokolovic.com/en/home\" target=\"_blank\" rel=\"noopener\"> Ana Sokolović’s Svadba-Wedding\u003c/a>, an a cappella chamber opera for six women.\u003c/p>\n\u003cp>“The Wilsey center and the (Taube) atrium theater will serve as an incubator for new ideas,” said the opera’s General Director David Gockley, “stimulating new audiences, keeping the public engaged with us, while the ballet is in the opera house during the first four or five months of the year.”\u003c/p>\n\u003cp>Gockley and architect Mark Cavagnero, who designed the SFJAZZ Center, led reporters on a hard hat tour of the $22-million refurbished space on Monday. Gockley noted that when he arrived at SF Opera ten years ago, the company was spread over seven locations, including commercial spaces whose rents were expected to triple or quadruple.\u003c/p>\n\u003cfigure id=\"attachment_11089222\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg\" alt=\"Architect Mark Cavagnero\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Architect Mark Cavagnero \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an immediate savings in rent of about a $1 million,” Gockley said as construction work continued around him, “which we are pouring into the programming of the Taube Atrium.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In some ways, SF Opera is copying the experiments of its neighbor, the San Francisco Symphony and its \u003ca href=\"http://ww2.kqed.org/news/2015/03/22/sf-symphony-entices-new-audiences-with-soundbox-venue\" target=\"_blank\" rel=\"noopener\">Soundbox concert venue\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11089220\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg\" alt=\"SF Opera General Director David Gockley testing out a seat for the new Taube Theater\" width=\"640\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1920x1386.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg 1955w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF Opera General Director David Gockley testing out a seat for the new Taube Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Opera hopes to attract the same younger, musically adventurous audiences that have made \u003ca href=\"http://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox such a success\u003c/a>. The opera’s new atrium theater will feature the same Meyer Sound Constellation acoustic system, and copy SoundBox’s more relaxed atmosphere.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an example of the new approach, the seats for the Taube Atrium Theater come equipped with cup holders, something that would be unthinkable in the Opera House next door.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is building a new intimate performance space, which it hopes to open in late February, and the organization recently took a group of journalists on a hard-hat tour of the project in process.\u003c/p>\n\u003cp>The new space is being built in the \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">Veteran’s Building\u003c/a> next door to the Opera House, as part of its plans to consolidate offices and its costume studio. At the invitation of the War Memorial Board of Trustees, which operates the Veteran’s Building, SF Opera is taking the whole fourth floor and parts of the basement once occupied by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_11089224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg\" alt=\"The entrance to the unfinished Taube Atrium Theater\" width=\"640\" height=\"361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469396102-1-e1447787152215-960x541.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to the unfinished Taube Atrium Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 299-seat “Dianne and Tad Taube Atrium Theater” will be the centerpiece of the Diane B. Wilsey Center for Opera. The theater is scheduled to open Feb. 28 with the first concert of the Schwabacher Debut Recital Series, followed by the San Francisco premiere of a multi-media version of Schubert’s Winterreise (Winter Journey), which is being produced by \u003ca href=\"http://www.nytimes.com/2014/11/13/arts/music/matthias-goerne-sings-kentridges-version-of-winterreise.html?_r=0\" target=\"_blank\" rel=\"noopener\">South African artist William Kentridge\u003c/a> and sung by German baritone Matthias Goerne. That will be followed by a series of chamber recitals and \u003ca href=\"http://www.anasokolovic.com/en/home\" target=\"_blank\" rel=\"noopener\"> Ana Sokolović’s Svadba-Wedding\u003c/a>, an a cappella chamber opera for six women.\u003c/p>\n\u003cp>“The Wilsey center and the (Taube) atrium theater will serve as an incubator for new ideas,” said the opera’s General Director David Gockley, “stimulating new audiences, keeping the public engaged with us, while the ballet is in the opera house during the first four or five months of the year.”\u003c/p>\n\u003cp>Gockley and architect Mark Cavagnero, who designed the SFJAZZ Center, led reporters on a hard hat tour of the $22-million refurbished space on Monday. Gockley noted that when he arrived at SF Opera ten years ago, the company was spread over seven locations, including commercial spaces whose rents were expected to triple or quadruple.\u003c/p>\n\u003cfigure id=\"attachment_11089222\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg\" alt=\"Architect Mark Cavagnero\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_469395824-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Architect Mark Cavagnero \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s an immediate savings in rent of about a $1 million,” Gockley said as construction work continued around him, “which we are pouring into the programming of the Taube Atrium.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In some ways, SF Opera is copying the experiments of its neighbor, the San Francisco Symphony and its \u003ca href=\"http://ww2.kqed.org/news/2015/03/22/sf-symphony-entices-new-audiences-with-soundbox-venue\" target=\"_blank\" rel=\"noopener\">Soundbox concert venue\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11089220\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11089220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg\" alt=\"SF Opera General Director David Gockley testing out a seat for the new Taube Theater\" width=\"640\" height=\"462\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1180x852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-1920x1386.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593-960x693.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/IMG_2723-e1447787020593.jpg 1955w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">SF Opera General Director David Gockley testing out a seat for the new Taube Theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SF Opera hopes to attract the same younger, musically adventurous audiences that have made \u003ca href=\"http://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox such a success\u003c/a>. The opera’s new atrium theater will feature the same Meyer Sound Constellation acoustic system, and copy SoundBox’s more relaxed atmosphere.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an example of the new approach, the seats for the Taube Atrium Theater come equipped with cup holders, something that would be unthinkable in the Opera House next door.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Up close, the lights blink in an uncoordinated way — they’re a constellation of bright pinpoints without much meaning. The piece only starts to reveal itself when the viewer takes several steps away from it, becoming first a synchronized wave of moving lights, then resolving into human figures swimming in space.\u003c/p>\n\u003cfigure id=\"attachment_11087063\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-1180x664.jpg\" alt=\""Light Topography (Jane's Pool)," 2014, by Jim Campbell\" width=\"640\" height=\"360\" class=\"size-large wp-image-11087063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Light Topography (Jane’s Pool),” 2014, by Jim Campbell \u003ccite>(Courtesy: KQED Newsroom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The piece, titled “Jane’s Pool,” is one of several artworks on display at artist Jim Campbell’s fabrication studio in San Francisco. Made with hundreds of LED lights soldered to a circuit board that controls when the lights pulse and dim, “Jane’s Pool” plays with perception and motion.\u003c/p>\n\u003cp>“It’s all about movement,” says Campbell. “These images that I’m working with commonly don’t even exist without their movement.”\u003c/p>\n\u003cp>For all their high-tech presentation, the imagery is actually very low-resolution. Instead of the millions of pixels we’re accustomed to seeing in a single frame of high-definition television, Campbell’s works contain only a few hundred points of light. It’s the overall change in the lights, when viewed from the right distance, that translates into moving images of children playing or men and women walking.\u003c/p>\n\u003cfigure id=\"attachment_11087064\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-1180x664.jpg\" alt='\"The Journey,\" 2013, by Jim Campbell, located in the San Diego International Airport' width=\"640\" height=\"360\" class=\"size-large wp-image-11087064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The Journey,” 2013, by Jim Campbell, located in the San Diego International Airport \u003ccite>(Courtesy: KQED Newsroom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You’re almost decoding them, if you will,” says Campbell. “Learning how to fill in the blanks.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This still image of an installation at the San Diego airport shows part of a strip of thousands of suspended lights. Watch the video above to see the lights in motion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or go to see the artworks in person. \u003cem>\u003ca href=\"http://sjica.org/detail.html?eid=1121\" target=\"_blank\" rel=\"noopener\">JIM CAMPBELL: New Work and Collaborations\u003c/a>\u003c/em> opens at the San Jose Institute of Contemporary Art opens on Sunday, Nov. 15, 2015 and runs through Feb. 13, 2016. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Up close, the lights blink in an uncoordinated way — they’re a constellation of bright pinpoints without much meaning. The piece only starts to reveal itself when the viewer takes several steps away from it, becoming first a synchronized wave of moving lights, then resolving into human figures swimming in space.\u003c/p>\n\u003cfigure id=\"attachment_11087063\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-1180x664.jpg\" alt=\""Light Topography (Jane's Pool)," 2014, by Jim Campbell\" width=\"640\" height=\"360\" class=\"size-large wp-image-11087063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_JanesPool4-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Light Topography (Jane’s Pool),” 2014, by Jim Campbell \u003ccite>(Courtesy: KQED Newsroom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The piece, titled “Jane’s Pool,” is one of several artworks on display at artist Jim Campbell’s fabrication studio in San Francisco. Made with hundreds of LED lights soldered to a circuit board that controls when the lights pulse and dim, “Jane’s Pool” plays with perception and motion.\u003c/p>\n\u003cp>“It’s all about movement,” says Campbell. “These images that I’m working with commonly don’t even exist without their movement.”\u003c/p>\n\u003cp>For all their high-tech presentation, the imagery is actually very low-resolution. Instead of the millions of pixels we’re accustomed to seeing in a single frame of high-definition television, Campbell’s works contain only a few hundred points of light. It’s the overall change in the lights, when viewed from the right distance, that translates into moving images of children playing or men and women walking.\u003c/p>\n\u003cfigure id=\"attachment_11087064\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-1180x664.jpg\" alt='\"The Journey,\" 2013, by Jim Campbell, located in the San Diego International Airport' width=\"640\" height=\"360\" class=\"size-large wp-image-11087064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/JIMCAMPBELL_SanDiego3-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The Journey,” 2013, by Jim Campbell, located in the San Diego International Airport \u003ccite>(Courtesy: KQED Newsroom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You’re almost decoding them, if you will,” says Campbell. “Learning how to fill in the blanks.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Lemony Snicket is ready to critique your writing.\u003c/p>\n\u003cp>San Francisco-based Children’s book author Daniel Handler, who uses the pen name Lemony Snicket, will judge a literary contest offered by Cogswell College. The private school is located in the Silicon Valley city of San Jose, California.\u003c/p>\n\u003cp>The “COG: Page to Screen Awards” is an open competition, the college said Monday. COG is the name of the school’s newly launched multimedia publication.\u003c/p>\n\u003cp>Unpublished short stories and creative nonfiction submissions up to 7,000 words will be accepted now through March 31, with the winner to be announced in May. The winning piece will be adapted by the college’s digital art and animation students, possibly as a short animated film or graphic novel.\u003c/p>\n\u003cp>In a statement, Handler slyly compared a literary contest to a full moon, which he said “turns a small number of people into werewolves.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Series of Unfortunate Events\u003c/em> is a series of 13 children’s novels by Handler.\u003c/p>\n\n",
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"content": "\u003cp>Pandora says it is acquiring technology and intellectual property from Rdio and will add new features to its Internet music streaming service by late next year.\u003c/p>\n\u003cp>The $75 million cash deal depends on Rdio seeking bankruptcy protection and gaining court approval for the deal. Rdio will wind down its service.\u003c/p>\n\u003cp>It would be the second big purchase by Pandora following its agreement to buy ticket seller Ticketfly last month for $450 million.\u003c/p>\n\u003cp>CEO Brian McAndrews said Monday that Pandora wants to redefine itself. It’s primarily a U.S. service today known for its Internet radio. McAndrews wants to make it a global operation, add live events and give users more control.\u003c/p>\n\u003cp>Services like Spotify that let you request specific songs typically cost $10 a month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pandora radio is free, with ads. There’s a $5-a-month option that strips out ads.\u003c/p>\n\u003cp>The deal also follows steps the company has taken to repair its frayed relationship with the music industry. Earlier this month, it reached a direct licensing deal for songwriting rights with Sony/ATV, the largest music publisher in the world. It settled a lawsuit for $90 million last month over songs from before 1972. It also suspended a plan to use a South Dakota radio station to lower its royalty payments, and agreed to retroactive pay to artists.\u003c/p>\n\u003cp>A more collaborative relationship with music makers puts it in a stronger position to expand, McAndrews said.\u003c/p>\n\u003cp>Pandora Media Inc. shares rose 3 cents to $13.45 in after-hours trading.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cp>In the aftermath of the coordinated terror attacks on Paris, people around the world have been taking to social media to share their grief and show support for the French people.\u003c/p>\n\u003cp>One image, in particular, has become a kind of icon of international solidarity: a simple, but powerful, black-and-white ink drawing of a peace sign — with the Eiffel Tower at its heart. The picture popped up online last night, and since then it has been shared, liked, tweeted and retweeted as people attempt to cope with the tragedy.\u003c/p>\n\u003cp>It has become known as the “Peace for Paris” symbol. And its creator, illustrator Jean Jullien, awoke Saturday morning to discover that it had gone viral.\u003c/p>\n\u003cp>“Last night I was about to go for dinner,” Jullien, who was out of the country at the time of the attacks, tells NPR’s Michel Martin. “I turned on the French radio. I heard that it was an attack, and my first reaction was to draw.”\u003c/p>\n\u003cp>What he produced ended up being raw, minimal and resonant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s this sort of moment where you don’t necessarily try to understand everything coherently. It’s more of a state of shock and sadness and anger and all these very sort of raw feelings. So for me, it’s just sort of trying to summarize these feelings in one image with my way of reacting,” Jullien says.\u003c/p>\n\u003cp>“I shared it online as a reaction, not really thought through at all.”\u003c/p>\n\u003cp>His original tweet has since been retweeted more than 49,000 times, and it has appeared on signs, memorials and even T-shirts in countries around the world — from Berlin to New Zealand. And, frankly, he says it has made him a little bit uncomfortable.\u003c/p>\n\u003cp>“You know, it’s putting me in a spotlight that I don’t necessarily want to be [in], because I don’t want to benefit from this exposure, in the sense that it’s a tragedy first and foremost,” Jullien tells Martin.\u003c/p>\n\u003cp>Still, despite his discomfort, Jullien says his work achieved what he’d hoped.\u003c/p>\n\u003cp>“The idea was just for people to have a tool to communicate, and to respond and to share solidarity and peace. It seems that’s what most people got out of it. So in that sense, if it was useful for people to share and communicate their loss and need for peace, then that’s what it was meant to be.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/456022682/456045309\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Circle+Of+Hope%3A+How+A+Raw+Reaction+Became+A+Sign+Of+Solidarity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the aftermath of the coordinated terror attacks on Paris, people around the world have been taking to social media to share their grief and show support for the French people.\u003c/p>\n\u003cp>One image, in particular, has become a kind of icon of international solidarity: a simple, but powerful, black-and-white ink drawing of a peace sign — with the Eiffel Tower at its heart. The picture popped up online last night, and since then it has been shared, liked, tweeted and retweeted as people attempt to cope with the tragedy.\u003c/p>\n\u003cp>It has become known as the “Peace for Paris” symbol. And its creator, illustrator Jean Jullien, awoke Saturday morning to discover that it had gone viral.\u003c/p>\n\u003cp>“Last night I was about to go for dinner,” Jullien, who was out of the country at the time of the attacks, tells NPR’s Michel Martin. “I turned on the French radio. I heard that it was an attack, and my first reaction was to draw.”\u003c/p>\n\u003cp>What he produced ended up being raw, minimal and resonant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s this sort of moment where you don’t necessarily try to understand everything coherently. It’s more of a state of shock and sadness and anger and all these very sort of raw feelings. So for me, it’s just sort of trying to summarize these feelings in one image with my way of reacting,” Jullien says.\u003c/p>\n\u003cp>“I shared it online as a reaction, not really thought through at all.”\u003c/p>\n\u003cp>His original tweet has since been retweeted more than 49,000 times, and it has appeared on signs, memorials and even T-shirts in countries around the world — from Berlin to New Zealand. And, frankly, he says it has made him a little bit uncomfortable.\u003c/p>\n\u003cp>“You know, it’s putting me in a spotlight that I don’t necessarily want to be [in], because I don’t want to benefit from this exposure, in the sense that it’s a tragedy first and foremost,” Jullien tells Martin.\u003c/p>\n\u003cp>Still, despite his discomfort, Jullien says his work achieved what he’d hoped.\u003c/p>\n\u003cp>“The idea was just for people to have a tool to communicate, and to respond and to share solidarity and peace. It seems that’s what most people got out of it. So in that sense, if it was useful for people to share and communicate their loss and need for peace, then that’s what it was meant to be.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/456022682/456045309\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Circle+Of+Hope%3A+How+A+Raw+Reaction+Became+A+Sign+Of+Solidarity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Friday, coordinated terrorist attacks struck the French capital, killing more than 120 people.\u003c/p>\n\u003cp>Deadly attacks hit multiple sites simultaneously. There were explosions outside a massive stadium. Scores of people were held hostage inside a concert venue. Diners at several cafes and restaurants faced volleys of gunfire.\u003c/p>\n\u003cp>The incident has prompted anger, grief and \u003ca href=\"http://www.npr.org/2015/11/14/456045436/photos-the-world-responds-to-the-paris-attacks\">an outpouring of sympathy from around the world\u003c/a>.\u003c/p>\n\u003cp>On social media, \u003ca href=\"http://recode.net/2015/11/13/facebook-activates-safety-check-in-feature-amid-paris-terror-attacks/\">Facebook's check-in feature\u003c/a> let people in Paris signal to their friends and family that they were safe. On Twitter, the hashtag \u003ca href=\"https://twitter.com/search?q=%23PorteOuverte&src=typd\">#PortOueverte \u003c/a>connected people stranded in Paris with nearby residents offering to host them.\u003c/p>\n\u003cp>And a day after the attacks, a few expressions of resilience and hope — in song and in art — have been shared tens of thousands of times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Spectators at the Stade de France, who heard loud explosions during a friendly soccer match between France and Germany, sang the French national anthem as they finally left the stadium:\u003c/p>\n\u003cp>A day later, a man towed a piano behind his bike to the front of the Bataclan, the concert hall where more than 80 people were killed. There, he sat down to play John Lennon's \"Imagine.\"\u003c/p>\n\u003cp>Charlie Hebdo cartoonist Joann Sfar drew \u003ca href=\"http://i100.independent.co.uk/article/what-a-charlie-hebdo-cartoonist-drew-after-the-second-paris-terror-attack-in-a-year--Z1ZZbO3VYx\">a series of cartoons\u003c/a> praising Paris' love of live and the city's resilience in the face of \"lovers of death.\" He also wrote a cartoon in English responding to the #PrayforParis hashtag and suggesting an alternative, #Parisisaboutlife:\u003c/p>\n\u003cp>And a quick sketch by artist Jean Jullien quickly gained traction as a hopeful symbol after a night of horror. It sparked a hashtag of its own: #PeaceForParis.\u003c/p>\n\u003cp>Jullien \u003ca href=\"http://www.npr.org/2015/11/14/456022682/circle-of-hope-how-a-raw-reaction-became-a-sign-of-solidarity\">spoke with NPR's Michel Martin\u003c/a> about the inspiration behind the simple sketch.\u003c/p>\n\u003cp>He tells her he's a little uncomfortable with the attention his drawing has received on social media, since he doesn't want to gain any personal benefit from the tragedy. Still, he's pleased it's hitting home, he says:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The idea was just for people to have a tool to communicate, and to respond and to share solidarity and peace. ... If it was useful for people to share and communicate their loss and need for peace, then that's what it was meant to be.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+Social+Media%2C+Messages+Of+Resilience+And+Hope+Flourish&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cp>Kelley Stoltz has been a mainstay in the Bay Area indie music scene for years, not only as a highly valued producer and cheerleader, but as an artist in his own right. He started releasing his own music before Y2K, and since then he’s worked with seemingly hundreds of artists, from garage-rockers Thee Oh Sees to singer-songwriter Sarah Bethe Nelson. And he has just released three separate records: Two full albums, “In Triangle Time” and “The Scuzzy Inputs of Willie Weird,” and one four-cut EP. I’d say that they show three different sides to Stoltz. But the fact is that between them, they show about a dozen.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/232988041\" 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>Can we piece them together into one nice whole? Well, one person’s multifaceted is another’s ill-defined.\u003c/p>\n\u003cp>Of the three releases, “In Triangle Time” is the “real” album, and the best bet for getting to know his many talents and many directions. “Cut Me Baby,” the opening track, puts an oddball mystique into a nicely honed pop context -- a little Brian Eno, a little Lee Hazelwood, a little, oh, Nick Lowe. Throughout the album, as those who have followed Stoltz would expect, he’s not shy about showing his affection for Brian Wilson’s layering and Syd Barrett’s psychedelia, the latter prominently on the centerpiece, “Pyramid of Time” (as well as on the EP’s “Perception”). And yet, the quasi electropulse of “The Hill” may well be the “Triangle” album’s unexpected, magnetic peak.\u003c/p>\n\u003cp>Now, as for his other full-length release, “The Scuzzy Inputs of Willie Weird,” well, the title says it all. Among the whimsical songs: “Hot Igloo,” “Goodbye Porcupine Hat” and “Seagulls Sing Hari Hara.” Two “Weird” songs, though, seem like statements of philosophy: one is the closing “I Don’t Care What the World Does,” which sounds like he doesn’t. The other is “He Who Laughs Last,” a cheery, goofy calling card.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout he puts on different, often comedic voices, including a gruff, curmudgeonly growl on the highlight, “Garbage,” in which he (or whatever character he may be playing) dismisses just about everything in the universe as, uh, garbage.\u003c/p>\n\u003cp>Maybe Stoltz doesn’t want us to know him, to pin him down. Maybe he’s almost daring us to keep up with him. But maybe here and there he’s left some clues as to who the “real” Kelley Stoltz is.\u003c/p>\n\u003cp>At the very end of “In Triangle Time,” after all his stylistic mashups and experiments, he lets his guard down. “Destroyer & Drones” is a bare-bones, late-night meditation on, well, various things, but they all fall away to the unabashed, uncomplicated declaration, “Hallelujah, I love you so.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just another facet to add to Stoltz’s already complex catalog? No, this sounds like an artist coming into clear focus.\u003c/p>\n\n",
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"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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"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. ",
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"marketplace": {
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"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",
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"source": "American Public Media"
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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.",
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"onourwatch": {
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"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?",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"source": "PRI"
},
"link": "/radio/program/pri-the-world",
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"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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